Words: Katlin Siil

The third day of London Fashion Week was bursting with creative energy and talent as British fashion giants (Mulberry, Temperley) took to the stage alongside our bright young stars (Jonathan Saunders, Preen by Thornton Bregazzi). We also witnessed a catwalk debut (Whistles), and two trends were very noticeable: constructed punk and cleverly manipulated PVC and putting dresses over trousers and skirt suits.

The morning star was Preen by Thornton Bregazzi with their sci-fi punk collection. There were typical punk features such as black leather, PVC and an overdose of metallic zips, but these were balanced with pretty floral prints, making the collection, against all odds, perhaps one of the softest we have seen from the duo.

 

Margaret Howell referenced the French resistance during World War II and despite the somewhat morbid subject matter it was a typically Howell-like collection of understated chic in muted hues and relaxed silhouettes. Perfectly appropriate for the English winter, it boasted soft cashmere, tweeds and comfy cottons. So very nonchalant, we will always love Howell for her own unique style and signature.

Emma Hill at Mulberry took her inspiration from swinging London. The a-line skirts (the favorite shape for the season, it seems) were short, the jackets were boxy and the puff-sleeved dresses had an almost coquette quality to them. There was, of course, lots of leather – expect skirt-suits in brown and olive green leather and detailed lady-like bags to take centre stage come fall. Not to mention the ever so adorable pups!

 

Temperley presented another sophisticated collection showcasing her tremendous talent for crafty detailing. The masterful contradiction in the feather-light Grecian dresses with their heavy beadwork was breathtaking, while the feminine skirts, blouses and day dresses (a tribute to silver screen siren and Hitchcock girl Tippy Hedren) will make the Duchess of Cambridge very happy. A celebrity favorite, Temperley front row was once again a star-studded affair with the likes of Olivia Palermo and Kate Nash making an appearance.

Topshop Unique – a show that seems to be the highlight of the LFW calendar, attracting even Queen Bee Anna Wintour – opened with Cara Delevingne and showcased even more leather and PVC. It was both edgy and feminine with soft cashmeres, pastels and fur stoles. The glittery finale series added a flirty playful touch.

Mary Katrantzou abandoned her usual bright colour pallet for a monochrome one. The results were splendid – it was probably the strongest, most refreshing collection we have seen from her. The oriental shapes were the perfect canvas for the digital prints of pastoral scenery complete with rivers and bridges – a delicate, almost nostalgic combination, perhaps the most stunning collection at LFW this season so far, dare we say.

Jonathan Saunders surprised us with a less ‘Saunders’ collection than usual – missing were the repetitive patterns we have grown to love, as well as the cute matching ensembles and knit-sets. But we (almost) forgive him as he presented a strong collection of PVC and punk in a soft, feminine way. Combined with tweeds and silks, it was more retro than punk. A-lined skirts once again made an appearance, as did the very ‘Saunders’ colour pops in baby blue, orange and pink.

Matthew Williamson’s collections are going from strength to strength. The former go-to designer for Ibiza party girls (Jade Jagger and Kate Moss, but party girls nonetheless) is finally all grown up, dressing her woman in city-sleek combos only tastefully reminiscent of the former hippy days. The mandatory Williamson prints will always be in the mix (and thank God!), but they are now bolder, the fabrics less sheer, the structures more sophisticated and the silhouette more practical. But underneath it all, we can still see that same girl who danced the night away on a sunny beach in Spain. Only now, she is simultaneously running an empire.

Paul Smith also thought outside the box this season. His collection had fewer distracting details and patterns and less fuss than we are used to seeing from him. We salute Smith for incorporating the new wider and shorter trouser shape in such beautiful way, introducing bold colours and colour combinations (who wouldn’t love those azure blues and fuchsia pinks) and generally adapting to a more modern, simpler and sophisticated fashion vernacular.