Being a lowly unpopular blogger with minimal readers I am not in a position to actually attend London Fashion Week but the internet allows me to watch a live stream of the shows from the comfort of my bed .

So here are my impressions of Day One of London Fashion week, which so far has seen influences ranging from Blade Runner and Space 1999 to Hilary Banks and Bertie Basset.

The shows I caught were:

Jean-Pierre Braganza

He cites his influences for SS13:  “Sacred geometry, samurai and Frank Herbert’s Dune. The boy in me couldn’t resist the pull of Game of Thrones either.” Perhaps in an ode to Ridely Scott his has called the collection ‘Phoenetheus’.

brazangaThe shapes are typically ‘edgy’, all sharp edges and curve free, though a circular print, redolent of a pentagram or the circular home of vitruvian man was used on various pieces(below). One stand out dress featured a bold photographic print housed within a bold rectangular L shaped panel (left), a visual play on the faux hourglass ‘illusion’ dresses. This contrast was picked up in a gorgeous leather jacket that mixed suede and leather to create a contrast of textures on an all black garment. There were lots of asymmetric edges, with the asymmetric kilt skirt being featured many times, bringing to mind uniforms and armies of androids or replicant types, combined with the music it brought to mind a sci fi spa redolent of Joss Whedon’s Dollhouse, a mixture of clinical , straight lines and cold colour but with a luxury feel of soft fabrics, the oversized shapes being slouchy at times and boxy at others.The bold blocks of colour in geometric shapes is reminiscent of Tetris, but in a far more sophisticated palette of apricot hues standing out against the colder greys and blacks.

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overall feel : futuristic, spartan, cold, sharp lines, a bit ridely scott, arty sic fi, blocky, a bit Tetris.

 The highlights video is available on the LFW website

 

Zoë Jordan 

205005This was another show redolent of sci fi. The clean lines and off whites of some pieces (left), along with the woollen texture reminded me of Space 1999, the aesthetic of which is a rather British, middle class, late 70s Habitat furnished version of life in space. Like Brozanga’s collection the silhouette was clean with minimal detailing. The palette used was largely muted, with flashes of brights including orange  and a gorgeous deep, vibrant raspberry. A recurring print that resembles a scrambled, pixelated screen with bright flashes of what I can only describe as ‘pac man yellow’ on a black background further add to this retro cyberspace feel, furthermore a more classic monochrome check gives off a feel of screen static, this was paired with a crisp raspberry giving a very strong impact and lifting it above a dull fuzz. The inclusion of metallics and padded space epaulet shoulders paired with a bright orange skirt give one outfit an unfortunate air of ‘EasyJet intergalactic’ (right).

205021There was however a softer side, with slouchy knits and textured, flowing skirts and rich, deep piled fur. However harsh the lines and stark in appearance the fabric seemed soft and yielding, many even downright cosy.

Zoë Jordan studied architecture and many of the pieces feel structural, again in the air of a 70s sci fi dystopia redolent of the cool concrete lines of the Thamesmeade estate – famously used in Kubrick’s  film adaptation of ‘A Clockwork Orange’, which yet again uses white to transmit an air of futuristic cleanliness.

Overall feel: 1970s Habitat in space.

Highlights Video and Photos

 

 

 

Bora Aksu 

204990 Yet more sci-fi influences, it seemed to be a overriding theme or perhaps that’s just my inner geek. Bora Aksu’s collection reminded me very much of Fritz Lang’s  Metropolis, the headdresses worn by many of the models gave them an uncanny resemblance to Hel, the robotic cover girl. IN contrast to Borganza and Jordan, the lines and silhouette here were anything but simple, elaborate Elizabethan sleeves, intricate lace detailing, beadwork in curved waves over exaggerated corseted shapes, again this adds to the Metropolis look of an exaggerated, artificial creation of a woman. Soft ivory’s give way to harsh greys lifted with deep raspberry (again). Leather is used extensively, which emphasises the elizabethan feel especially  when combined with fur. Velvet and built up, exaggerated 1940s style shoulders with a tight hourglass shape echo Rachel from Blade Runner (left), corsets are given a prim edge by being worn over button to the neck chiffon blouses in sharp, masculine shapes.

204971The raspberry breaks out from being an accent colour and takes over head to toe in some outfits, with a black almost rococo devoreé effect. Soft, floating chiffon dresses bring to mind Victorian doll’s dresses and it all feels like a trip to the future through the lens of the past, a paleo-future as it were with echoes of 60s mini dresses, elegant art deco, the renaissance and victoriana, I’m reminded of Orlando, Virginia Woolf’s gender shifting, ageless character who lives through hundreds of years.

Overall feel: Time travel and ‘paleo future’.

Highlights- video and photos

 

PPQ

ppqWith the exception of Bragazna, whose show I caught most of live, This was the only show I caught ‘live’ from start to finish including the rather fascinating (for a bit) crowd watching of the inevitable milling around before it actually starts. As I can’t miss out such a juicy 90s bitpop joke I have to point out Sophie Ellis Bextor was spotted in theaudience.

This was possibly my least favourite show, it seemed very 90s, bright colours, a bit of an 80s hangover with dropped waist tulip skirts that resembled ra-ras but weren’t quite. I even spotted a style nod to Hilary Banks and perhaps Liz Hurley, very 90s Versace, with a body 90s style mini dress in bright yellow and Bertie Basset was perhaps unintentionally referenced in a black, pink and green 80s style  chiffon mini, many of the colours were pure liquorice allsorts.

There were quite a few ‘boob windows’ (which I think may be called ‘cut out detailing’ but ffs they’re boob windows) and bare shoulders, which added a bold look to dresses which in . In yet more 90s nostalgia the prints were bright and in your face, a bit like the intro to ‘saved by the bell’, brights and pastels and oh so 90s. If the other shows eschwed embellishment, PPQ went overboard, there was marabou, bows, bows and more bows (my brief notes taken during the shows states; boob window and bow wrist catsuit. bow at neck. WTF again. bows bows bows. stretch velvet) and some weird sub Miro appliqué things that looked a bit doodle-y and reminded me if when your mum would sew your swimming badges onto your swimming costume as a kid.

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All in all I’m not quite sure about this, I think I’ll need to look at the video and gallery, but the recap isn;t up on the website yet! so perhaps more cynicism or maybe my notes will prove me wrong, but there were boob windows.

Overall feel:  Fresh Princess of Bel Air

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