Every season sees a new Topshop space unveiled; this season’s concrete backdrop in the very heart of the Tate Modern was the perfect setting for the brand’s renowned androgynous aesthetic and muted tones.

Blur vaulted us back to the mid 90s, and toes started tapping as Cara Delevingne nonchalantly breezed past a glittering front row of Olivia Palermo, Pixie Geldof and Topshop campaign girl Kate Bosworth.

The show unfolded with a sleek sensibility; models paraded the catwalk in oversized long line bomber jackets, calf-length flippy skirts and court shoes paired with ankle socks. What started sensibly soon morphed into a parade of slivers of skin and sequins. Black outwear was injected with blood red. Textures were mish mashed together; matt slouchy jumpers sat upon glossy calf-length skirts, fuzzy fur snoods came married against satin pastel dresses. What begun with “girls who are boys”, as Blur so eloquently put it, ended on princess pink hues and glitz that would cause any three year old girl to turn green with envy.

The AW13 Topshop Unique girl is a power dresser; she’s the talk of the office with her classic style and structured silhouettes during the week but come 6pm Friday, she puts on her strappy pink shoes and sparkles and is the life and soul of the 90s Britpop party.

Words: Millie Cotton
Images: Harry Carr

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Continuing on from her LCM show last month, Margaret Howell presented a sharp yet understated collection of wardrobe staples at Howell HQ yesterday morning.

A workforce of models clad in fisherman’s funnel neck jumpers in bursts of red and mellow white, their hems drooping over pleated twill skirts, took to the catwalk. Waists were cinched in and pockets were seamless. Howell managed to capture the epitome of an everyday – but extremely well dressed – Brit in each piece.

What little extravagant detail there was left the eye to focus on the clean silhouettes offered for AW13. This was a collection of dreams; you could close your eyes and pick any two pieces and they’d effortlessly match together.

Practicality extended to accessories too; boots were black, knee-high and flat soled. Satchels were leather, equalling a both sustainable and utilitarian option.

Howell continues to prove each season that those rare times that you strip back the fuss away from fashion do work – you’re simply left with timeless pieces that everyone wants hanging in their wardrobe.

Words: Millie Cotton
Images: Harry Carr

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Having one of the last slots of the day over London Fashion Week is never easy; inevitably you’ll be faced with showing to exhausted editors whose entire day has been running fashionably late due to one show pushing back another. The crowd had come from far and wide across London to glimpse Richard Nicoll’s latest offering, and after somewhat of a fashion scrum to the door, only the select few of the mass were allowed in.

Nicoll wasn’t the first designer this season to carry on where they left with their men’s collection by embracing masculine features (albeit adding a twist of femmed-up glamour). Cropped tailored trousers fell above patent pointed heels and hung loosely from below slender hips with a crisp shirt in dark hues and crisp white tucked in; outerwear overshadowed the body in ridged structures; knitwear was relaxed yet still insouciantly smart.

Amidst the grey tones, bursts of vibrant orange embossed snakeskin brightened the grey surroundings of the Tate Modern, before succumbing to a more neutral palette of elegant eveningwear, which unfolded glistening satin with finely embroidered detail and sheer accents. Running onto the catwalk for a celebratory lap, Nicoll managed to lift the mood of a room full of run to the ground editors on a Sunday night – certainly not an easy feat for even the most accomplished of designers and a concrete cause for celebration.

Words: Millie Cotton
Images: Mark Rabadan

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The Rihanna for River Island show was always going to transpire unconventionally; so on Saturday, The Old Sorting Office transformed into a theatre featuring a stage of five lit boxes for the first ever showing of a celebrity-endorsed high street collection at London Fashion Week. Riri was never going to do things by halves – after all, this was a girl who commandeered an Boeing jumbo jet for the 777 tour.

And Rihanna didn’t lack for support from her own celeb clique: Cara Delevingne and Jourdan Dunn were in the front row, pumping their fists to the beat of Jay-Z and A$AP Rocky. (After the show finished, they both bum-rushed the singer-turned-designer to flood her with congrats – that’s Delevingne hugging Riri in the picture above)

As for the show itself? Kicking off an hour after the scheduled start time, the first model appeared in a double denim ensemble that would have looked perfectly in place at any Rihanna gig of the night.

Clad in matching ensembles of monochrome prints, hooded crops and high neck dresses, Rihanna’s model army walked through the boxes in a ridged rotation. Slits were thigh-high, dresses were skin-tight and midriffs were bare – and did we mention, bras were strictly optional. Unless they were the only top you had on, of course. Minimal accessories featured in the show but gold hoops hung from every ear lobe and hair was slicked back with gel at the root and fell pin-straight past shoulders; these models oozed swag from every pore.

The hard bass of Phresh Out The Runway brought Rihanna for River Island to a close and RnB’s princess’ bow was met with mixed reactions. The show was certainly a performance that will be remembered; as for the clothes, only time will tell. But one thing’s for sure: given the superstar’s credentials with her young, adoring fanbase, these clothes will sell and sell.

Words: Millie Cotton
Images: Harry Carr

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Out were with the old and in with the new; last night, Mary Katrantzou dramatically swerved away from the colourful prints she’s best known for, throwing the entire crowd at 5 Howick Place into a state of shock and awe. Don’t worry, their replacement was nothing short of genius.

Mary may have utilised a more reserved colour palette for next season, but there was no holding back concerning shape. Dresses framed iridescent photographs, which were cleverly brought to life through overlapping folds of luxurious fabrics and cocoon structures completely irrelevant of the body from which they hung. Where the prints ended, the leather began – and there was not an inch of leather that went unembossed in sight, boasting the vast technicalities of the collection.

Billowing metallic dresses drew the show to a close, leaving the industry’s finest speechless at the sheer beauty of the pieces. Mary Katrantzou showed off the advantages of our digital age this season, connecting fashion and art in a way she’s never quite managed before. Who knew that such melancholy prints could lift our spirits quite so high?

Words: Millie Cotton
Instagram: @elensof

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All of your collections seem to have a bold theme, what was the particular theme behind your AW12 collection?

Yeah, there’s always such a strong theme. Like this one was everything dark to do with fairy tales. With every kid’s fairy tale, like Sleeping Beauty or Lord of The Rings, there’s always this dark army growing, so I just wanted to create one. This whole collection was truly self-indulgent, my first completely independent line away from The British Fashion Council and NEWGEN. I felt free to do whatever I wanted and it was very exciting. From the elf ears to the crazy war hammer trainers, we pulled out the stops for everything.

So, what was the inspiration behind your theme this time round?

You’ve got to start somewhere. Mine was coming up with the theme and an idea. I don’t know all these things just come to me and I just thought well, I love creating all this sort of mad stuff and how can I tie in War Hammer and Zelder and Dungeons and Dragons.

Did you like all that sort of thing when you were younger?

Yeah, I loved War Hammer. I never played it but I was always looking in windows and all the guys who play it are super nerdy. They literally get a ruler out and they battle and they take it really serious. Obviously, I wasn’t into it that sort of way. Their names are hilarious; there’s one called something shaggeth. It’s just jokes really.

Did you have any challenges with the collection?

Yeah, well this one was extremely couture and made by hand. My whole teams hands are usually covered in cuts and edge-dye and leather, all of the black it goes into little cuts and your fingers so by the time it comes to a show they all look like little goblins and the same with me. This one was even harder considering the materials that we used. I could use whatever I wanted; leather, pony skin, fur. So many textures. You would never usually have a completely pony skin bag because of the sheer weight of it but we just didn’t want to spare anything. The idea was how can we make everything look evil. Probably the hardest we’ve ever dealt with.

What’s going to be happening for you in the future?

I want to work in a big fashion house and I have been approached by one but can’t say just yet who it is. That is like the dream. I feel like it’s happening. I’ve worked for some incredible people already like Kanye [West]. It’s amazing because it means that I can see my dreams form. Money has always been a problem, even when you have good jobs. Things get more expensive season by season so it always feel like you are just coasting and can’t make any more. Where as if you have something like that going on, you can realise your dreams.

W you not feel like you were quite controlled working In House?

This is an adventure. I have no idea how it’s going to work. All I know is that I have a vision and they approached me because they love what I do so hopefully, there shouldn’t be too much of a problem. They’ve pulled me in for a reason. They need rejuvenation and that’s defiantly something that I can give.

Words: Millie Cotton
Images: Amina Nolan

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What fabricated was magnificent. The opening look, a black hooded cape, cinched in with a large waist, hinted at the different direction the collection was headed for this season. De la Morena’s signature cocktail dress had matured since last season. They now fell below the knee, and some even brushed along the ground. Bulky, hooded coats, cinched in at the waist by chunky patent belts, kept silhouettes varied against skin-tight pencil skirts and faux leather trousers.

Graphic starched cotton shirts and maxi skirts were created by the designer’s manipulation of a forest in spain, which added a new dimension to his white, black and forest green colour palette.

Accessories were minimal. Patent leather headpieces with nappa bows sent a welcome ripple of youth through the collection.

De la Morena’s offering may have been more serious this time round but what the looks lacked in fun, they made up for in quality.

Words: Millie Cotton

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Silk dresses in multiple tones of pink, with bold art-deco prints, glided down the catwalk. We couldn’t help but imagine these on a golden strip of beach, with a cocktail in hand. Next came an array of dainty electric blue skirts, with blush
worthy slits up the back teamed with roll necks. Gold eccentric patterns were prominent on black knits. A few perfectly tailored coats and jackets appeared amongst the collection, which were also covered in wacky prints. Fulton stated that her inspiration lay in psychedelic graphics by pop artist Peter Max.

Known for her bling, models were heavily accessorised with necklaces and earrings – think Pat Butcher but a million times chicer.

The collection proved to be much of the same from Fulton. Those who admire what she does will adore it, and those who don’t…well, that’s their problem.

Words: Millie Cotton

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Inspired also by the 60s appreciation of minimal detailing, looks were less fussy than Koma’s previous seasons. A multitude of LBDs with ensnaring cut out shapes, bustles drooping from the shoulders and leather paneling blossomed into a dresses with a flurry of colour, peplum and elaborate pleated hems. Stiff, high neck collars, in a rainbow of shades and glitter added masculinity to what would have otherwise been one of the most feminine collections we’ve seen this season.

Metallic ovals, carried through from the previous season were played an important role throughout the collection – they secured models’ hair in a low ponytail, embellished large patent belts and lined holes offering glimpses of colour that lay beneath.

Black and white leather boots with barely-there mesh cut down the sides and metal heels, which upon closer analysis transpired to be greyhounds stood to attention, were our most longed after footwear of the season.

Amalgamating metal ovals, glittery collars and art deco doesn’t sound particularly appealing, or wearable, but some how Koma managed to get the balance just right.

Words: Millie Cotton

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The models’ dip-dyed locks sat upon heavy V-neck knits, finished with ruffles, causing us some confusion. Was this really a Pringle show we were watching, or had we got lost and ended up in Dalston?

Show after show this season has seen ridged structures descend the catwalk so coats with billowing lapels offered a much needed breath of fresh air for AW12. Angular patterns in hues of burnt orange and eggshell blue were nipped in at the waist and accessorised with leather gloves in various complimenting colours.

“Behind the collection is a girl I used to know at school.” Carr said, referring to his inspiration. We left fascinated by where Carr studied and couldn’t help but wonder why we didn’t get to go to a school full of girls as cool as those ones.

Words: Millie Cotton

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