This season was a departure on many levels for Chief Creative Director Christopher Bailey, with what looked like his most conceptual collection so far at Burberry.

Digging deeper into who Bailey is as a designer – his influences, points of view and creative expression – made for an intensely personal collection that was infused with his love for Yorkshire artist and sculptor Henry Moore. Speaking as a fellow Northerner, seeing Moore’s sculptures on the catwalk gave me a nostalgia for visiting the Yorkshire Sculpture Park as a child, the same memory that Bailey fondly recalls of while growing up.

As a whole, the colour palette was a deviation from Bailey’s love of colour with a muted palette of black, white, grey and faded blues (taking inspiration even from the artist’s own workwear wardrobe). Bailey used Moore’s un-proportional aesthetic to change the shape of the body with a lot of asymmetric and deconstructed pieces. There were curved shoulders on tweed jackets, round exaggerated sleeves and military jackets with prominent hard, angular shoulders.

Discovering and interjecting his own personality through the lens of Burberry’s 161-year history, Bailey sent a down the runway a series of sculptural capes in what was a stunning finale. Remaking Burberry’s most historic piece in plastic, crystals, lace, feather and pearls. An unforgettable and defining collection for Bailey in what marks his second See Now, Buy Now collection.

Words: Heather Ibberson


A collection aptly named ‘It’s Very Black and White’, designer duo Amy Molyneaux and Percy Parker weren’t wanting to disappoint this season. Perhaps it’s because the duo are usually known for their bold prints and vivid colours (their AW16 collection was a wild spectrum of colour), that they thought it best to plainly put things in black and white from the offset as to not give any false hope.

Set at the Crypt on the Green in London with a live DJ playing beat techno music, the atmosphere couldn’t have felt more true to PPQ’s roots. The underground vibe helped to set the collection within the label’s beginnings in London subculture and continuously refers to this collaboration between fashion and music that is at the heart of their designs (PPQ also run a record label, 1-2-3-4 Records).

Having a monochrome palette throughout allowed for a more in-depth exploration and play with texture, lines and fabrics. White fur trimming was seen a lot around necks and sleeves alongside black feathers that were found stuck in the models hair. Tartan prints and horizontal stripes made the collection have a slight grunge feel to it that was set against the flamboyance of luxurious fabrics such as velvet, satin and tweed to help keep you warm during the colder months.

All looks were paired with Adidas Gazelle Shoes in black and white (what else?) which helped to reinforce the relaxed street vibe mixed with old school glam that saw throughout the collection, putting a modern spin on classic looks. Which only leaves me to ask, can be black be considered a colour yet?

Words: Heather Ibberson


In respect of the events of last year, it should come as no surprise that designers are using slogans to make bold and empowering statements on the catwalk this season. ‘Don’t Call Me Princess’ is perhaps the perfect example of the type of woman who designer duo Fyodor Podgorny and Golan Frydman had in mind when designing their AW17 collection.

Celebrating their 5th anniversary since debuting their first collection in 2011, this collection didn’t hold back the celebrations with explosions of colour, print and the mixing of plastic, cotton and denim materials that were revealed through interesting cut outs, showcasing the duo’s signature experimental cuts through the intricate layering of pieces.

Starting out with minimal and simplistic pieces, things quickly escalated to the collections bold wash of rainbow colour citing the Power Puff girls and German large scale spray paint artist Katharine Groose as an inspiration for the explosion of colour in a nostalgic, 90s watercolour fade.

The stand out item from the show was by far the introduction of the Post-It note. Cut into geometric shapes and stuck on leopard print coats, dresses and shoes or stuck onto plastic skirts with reminders to give ‘more love’, this show was boldly optimistic and a written note reminder that ‘girl power’ is here to stay.

Words: Heather Ibberson


The master of tailoring, Eudon Choi, didn’t fail to disappoint yet again this year with a collection rooted in his precise tailoring and penchant for detail.

Kicking off the first day of Fashion Week, Choi set the tone for the masculine relaxed tailoring that we saw many designers follow in the succeeding days. Starting off with monochromatic looks -made up of crisp white cotton shirts, grey wide leg trousers and smock dresses – the collection soon transitioned to varying shades of olive khaki, muted orange and cornflower blue.

This season, Choi was influenced by the Austrian/Czech architect Adolf Loo, suitably a pioneer of the modernist movement a.k.a minimalism. In particular, Loo’s essay ‘Ornament and Crime’ was a heavy influence on this collection, taking his idea of removing ornament from everyday objects to produce a series of looks that were simply striking in their natural materials.

His beginnings in menswear were clear in this collection, showcasing his sharp, clean tailored looks against more relaxed and oversized trousers, coats and dresses. His feminine touch was found in small stylistic details such as large gold buttons down the side of trousers, D-Rings with long straps that added movement and fluidity to structured jackets and the odd satin dress in pale pink. All in all, a collection that looked elegantly effortless yet required great attention to detail.

Words: Heather Ibberson


This Autumn/Winter, Bora Asku offered us his version of the feminist movement. Invitations depicted the 20th Century feminists holding up signs that shouted ‘peace’ and ‘freedom’, to which we later saw in person on the sleeves, collars and cuffs of the modern feminist women who walked down the catwalk.

It is perhaps of no surprise then that the collection was dedicated to Princess Sophia Duleep Singh, a dedicated active member of the British Suffragette movement. There was certainly an air of romanticism in his love letter to Sophia that ran throughout the collection, with Vintage-look dresses that were adorned with layers upon layers of frills, lace and ribbon. Yet the freedom of movement that the loose fit allowed was juxtaposed against heavy, black uniform boots that harshly stood out against the dominating pastel colour palette. Equally, playing with the duality of Sophia’s character that was both hardworking, whilst still retaining a bit of that girlish femininity.

Staying true to his vision of the Asku girl, this demi-couture collection was both seductive and intriguing, assertive yet innocent. A reminder to the 21st Century Woman that you can still dress feminine and be a feminist.

Words: Heather Ibberson


Renowned for being everything that is quintessentially English, this AW17 the DAKS ‘Savile Row Woman’ was given an urban edge.

The characteristically British herringbone, Prince of Wales check and houndstooth design were strong prints throughout the collection that also featured the ‘Daks Club Flannel’ in collaboration with Fox Brothers. Relaxed tailoring was also a strong feature here, making an appearance across many shows during LFW,  with classic menswear tailoring being mixed against softer, feminine shapes.

The London Sky hues were the source of inspiration for the colour palette, with the expected forecast of cloudy greys offset against accents of sliver piping, royal blue stones and pink florals to add a romantic and womanly touch.

To sum up, the DAKS woman exuded an effortless elegance this season. Coats were hung leisurely over the shoulders and trousers were kept baggy and oversized, rolled up to reveal a bare ankle. Tailored co-ord trousers and coats were worn with grey beanie hats, broken up with shirts in contrasting patterns. It almost felt as if all that was needed to complete the look was a grande Starbucks coffee to go and suddenly, any modern woman is prepared to face the pressures of modern day life in both style and comfort.

Words: Heather Ibberson

FAULT MAGAZINE @ LFW (FOH): Margaret Howell AW16


Photography: Nigel Pacquette

FAULT MAGAZINE Backstage @ LFW: Mary Benson AW16


Photography: Jon Payne