Published
February 24, 2025
Despite a half decade of Brexit, on many ways for a perverse fear of immigration, London fashion week witnessed a surprising day of action by designers, few of whom were born in Britain .
Roksanda: Malleable mode
No designer in London causes a feeling of astonishment as silent as Roksanda, whose latest collection had an almost fascinating effect on his audience.
Once at the last floor of Space House, a resounding building in Covent Garden, the cast marched in a circle before fantastic views of the latest generation of London skyscrapers. Its forms evoked in the bravery silhouettes dreamed by Roksanda Ilinčić born in Serbia.
From the fragment to the Quegrater and the Rasuradora, its forms and eclectic profiles appeared almost magically in the Blazers of three sizes that are too large or the wool pods spranged in fabric like hip balconies.
But, above all, it was Roksanda's ability to make hyperexage proportions work what this marked as a very special collection. As a largely elegantly elegantly elegantly elegant tuxedo coat with a large sequin skirt or two beautiful silk dresses in pink lavender layers.
His impressions were also notable: scanned images of excess plastic mixed with daring painted strokes, riffing in the inspiration of the program, the British artist Phyllida Barlow, known for her sculptural drawings and industrial constructions painted crudely.
A Barlow film of his final interview before his death ended the program in a moving end. In addition to the perfect choice of music: Just (after the song of the songs) by Melissa Hughes, Jamie Jordan and others, such as the Modernist Gregorian song or the music of the postmodern cathedral.
“And I suppose that for me, sculpture, whatever sculpture, is not just the object that I believe is a sensitive physicality of something that replaces us with our own physicality,” says Barlow, who sounds rather as an intelligent comment about this. collection.
Driving a grand finale, Roksanda triumph with half a dozen diaphans dresses, made with giant petals composed of neoprene cut with a flourishing that Frank Gehry would have envied.
Chet lo: East defends
An abrupt and avant -garde version of Chet Lo, whose objective of reinterpreting the tropes of Asia in subversive chic led to a show.
The boldness of the body with the body at all times, led by a large sticky knitwear while the Chinoiserie riffo in padded sweaters, clefts of cleft-the-the-the-rode and mini skirts.
Although the heart of the matter was the appearance of fetish wool of Lo, seen in long night containers, thin sweaters or blazers sleeves.
In a mixed show, the boys wore finishing fabrics, their shoulders covered with spikes, fluid pants and super new sneakers wrapped in spikes, courtesy of the last link in LFW of Converse.
You know that a designer is doing something well when the models dig clothes. As the girls certainly did it today in Chet Lo, an Asian American from New York. One could imagine them happily coming out of the show space in 180 The Strand in these attire that happen and to enjoy a party in constant blow.
Simone Rocha: Turtle and hare
Simone Rocha injected a large dose of elegant elegant in her aesthetics, adding another weapon to her formidable design aesthetic. Although the strongest memory of this collection will be the ark of Noah's animals that entangled the cast. From satén bags cut in the form of plastic hares and turtles, to faux-fur mono rhesus backpacks and bunny nylon bags, animals covered most of the looks.
Organized inside the Goldsmith Hall in the city of London, Rocha's last historical location for one of his shows, was an excellent collection, where Simone, born in Dublin, opened a new land with spicy neglige looks and semi-semi-cocktails bars, although used with Bobby socks.
Always happy to mix some punk rock, Rocha also showed excellent motorcyclist jackets cut like robes and ended with puff pastry sleeves.
The cast also loved the clothes totally while parading around the Goldsmith hall, where the Duke of Wellington and Robert Peel dined in 1835 at their opening dinner.
TOGA: ingenious eccentricity
The unlikely matches and the unexpected proportions and combinations were in the heart of the last collection of Toga by the founder Yasuko Furuta, presented inside a rear room of the Royal Academy.
The result was an unpredictable collection, although one of this considerable Japanese designer.
What worked was the wrapping of Blazers or military sweaters chained accessories with cotton necklaces of giant men; The inverse management blazers with huge renasauganed necklaces cut; or some multiple fabulous fold pants.
What did not work was: The synthetic skin cut was cut as furrows or short layers that are used on the abroad bubble skirts under control, the caparra of a dressmaker if there was ever one.
That said, its shoes was the most great in London, from silver heeled boots with glass sequins for children, to silver buckle ballet shoes from which Horsehair fangs sprouted.
Erratic, but it is worth the visit.
Paolo Carzana: A star is born
Last but not least, a lovely fashion moment of the new more decisive talent in London, Paolo Carzana.
Presented at a small pub called Holy Tavern with only 40 customers inside; a dozen in bar stools with light rain on the pavement; And a more fanatic score within a narrow Victorian passage called ST John's Path. From which a lovely gang of dandies and molls deceptively screened, all dressed in strange fabrics, wrinkled and wrinkled and sewn in Restoration Pirate Chic.
Beautifully discouraged, the cast carried a collection that was tied, twisted, rolled and ruled, like the extras of “The Raft of the Medusa”. Finished with rough seams and threads without peaks, clothing seemed to have their own life. The heads ended with mashed caps without culottes or mini turbans. A mixed show that ended with a Charlotte Corday poetically often following his gang on the pub.
“I wanted to show where we are today, in Purgatory. We live in dark times … because humanity is destroying our planet. And also the way in which LGBT rights are being removed, so we cannot be ourselves, ”explained a throbbing Carzana.
Who brought his arc almost overwhelmed with emotion. A sustained ovation of encouraging Carzana, directed by Sir Paul Smith, his mentor in a new fashion incubator gathered at the east end of London.
Think: a star is born.
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