Hello, London! Our fall 2015 collection coverage is continuing from across the pond, and we're reporting on the best of the UK's up and coming design talent, as well as its most established houses. For more of our London Fashion Week coverage, click here.
There's a discernible shift in mood on the Monday of every London Fashion Week. The main event of the day is, of course, Burberry, and many of the big-name editors fly in for the occasion; it feels a bit like coming back to school after playing hooky for a couple of days. And while sneakers might be worn to the morning shows, nearly everyone is in heels by the time they step into Burberry's showspace in Hyde Park at lunchtime.
6. Peter Pilotto x Nicholas Kirkwood
There was a lot to like at Peter Pilotto's fall 2015 collection show: a white zip-front coat punctuated with silver studs and circuitous patches of pale pink fur, a sage green coat paneled with golden calf hair, rows of pale neon stripes winding up and around turtleneck sweaters, dresses and hip-hugging skirts. Attractive as the clothes were, the shoes -- created in collaboration with fellow Brit Nicholas Kirkwood -- kept sending our eyes downward. We were particularly obsessed with a cut-out ankle boot patterned with wavy lines of white and rust and four-pointed stars in pink (see above). -- Lauren Indvik
Giles Deacon really brought out the big guns for his ultra-dramatic fall 2015 show — and by that I’m referring to the models who walked the runway. With casting by Anita Bitton, it was arguably the most stacked lineup of the season thus far: From established favorites whose appearances are now few and far between like Jessica Stam, Lily Donaldson and Aymeline Valade, to new industry darlings like Kendall Jenner, Molly Bair and Anna Cleveland, to one fabulous strut by Andreja Pejic in her first runway appearance post-transition, it was a model-lover's dream. Plus, the gothic clothing was really, really good.
The women walked through four dim rooms — all decorated with woodsy moss and greenery — and to bring the gloomy mood and Victorian garments even more to life, they posed old-school salon style, with Cleveland (who closed the show) doing a twirling dance down the runway to show off her layered, digital-printed gown. The whole thing was equal parts macabre and marvelous, and we wish more fashion week events could elicit so much emotion. It was an invigorating way to end the day. -- Alyssa Vingan
4. Christopher Kane
We headed over to the Tate Modern for Christopher Kane’s show, which had a decidedly '80s power woman feel to it from the get go. The collection opened with suiting (accented with plush velvet in blood red and royal blue), giving way to sheer, ruffled dresses; eye-popping looks in shiny chainmail, lurex and velvet and a zig-zag motif meant to represent the "electric orgasm." It only gets more sexual from here, folks.
The focal points of the collection were based on a series of sketches of lovers (which, according to the show notes, were the results of life drawing classes the designer held in his studio) that appeared on everything from an elegant, high-necked evening dress — which also happened to be completely see-through — to an oversized red sweater, to the lace finale looks, which were composed of cut-outs of bodies writhing together with one another. It filled us with delight to see this "lovers lace" come down the runway, and we cannot wait to see the reactions when one of those pieces hits the red carpet for the first time. -- Alyssa Vingan
The day got off to a glorious start, thanks to designer Roksanda Illincic, who's part of the same Central Saint Martins generation as Christopher Kane and Jonathan Saunders. At 9 a.m., guests filed into a gymnasium, where Illincic sent out models with bouffants and their lips painted red, in colorful and wonderfully textured looks on a raised, curvilinear runway. Swathes of orange, pink, violet and royal blue cut a wave-like pattern across calf-length dresses and coats in nubbly boucle and tweed, and on oversized clutches, fat stoles and a coat in acid-toned fur. Illincic favors full skirts and slim bodices, and she stuck primarily to that silhouette, cinching dresses and skirts with large brushed-metal belts and utilizing gentle folds and peplums to emphasize the waist. Illincic, as pretty and lithe as any of her models, stepped on stage to give her bow at the end, a violet bouquet in hand. -- Lauren Indvik
After Roksanda, we headed over to Erdem's show in the dark ground floor of the Old Selfridges Hotel. There, stretched down a concrete runway space, was an elaborate set designed to look like a home in the early years after WWII: There were midcentury tables and chairs and lamps with their shades askew; love seats and sofas in various states of dirtiness and disrepair; portrait of a young soldier, presumably the son of the house, hung against dusty rose wallpaper; cigarette trays; a pile of old copies of Match and a butterfly collection. Some of the furniture came from designer Erdem Moralıoğlu's apartment.
When the lights went on, models walked out in cocktail dresses in floral-patterned metallic brocade, which grew increasingly elaborate with the layering of lace, mesh, feathers and ruffles. A coat that began in caramel-colored wool at the top ended in a green brocade without a seam -- an execution that was both gorgeous and technically impressive. Equally successful were a pair of ribbed-knit dresses that transitioned (again, without a visible seam) into feathered floral skirts. Like the furniture, many of the pieces were frayed at the edges. You got the sense that the people living in the house, and the women wearing the clothes, had gone beyond carrying whether the hems of their dresses were finished or if the seams of their tweedy, Chanel-like skirt suits had become ragged. (Did the son on the wall die in the war?)
For the finale, the models assembled themselves on the furniture -- a highly Instagrammable moment, if the lights had been a bit brighter. -- Lauren Indvik
At high-profile shows, our attentions are often divided between the clothes on the runway and the recognizable faces in the front row. At Burberry, we were (quite fortunately) seated directly across the runway from the label’s four current faces — Kate Moss, Cara Delevingne, Jourdan Dunn and Naomi Campbell (who snuck in about seven minutes after the show had already started) -- and they’re just as entertaining to observe during their time on the sidelines as they are when they’re actually walking.
Delevingne’s facial expressions are priceless, especially her bemused reaction to Burberry model Kai Newman's appearance on the runway (she boasts an uncanny resemblance to Campbell). She also snuggled up to her apparent new celebrity BFF, Sam Smith. But arguably the best part of the whole spectacle was watching Moss mouth the words to the show’s entire soundtrack (“House of the Rising Sun” and “My Sweet Lord” most aggressively) and she even danced along with her seatmate, Burberry campaign photographer Mario Testino. Fortunately, Vanessa Friedman of the New York Times captured her moves in a Vine video, which we've since been watching on repeat. -- Alyssa Vingan