HENRIK VIBSKOV AW2020 Fashion Editor: Savannah Barthorpe Photographer: VICTOR JONES Having previously been inspired by scenes such as the kitchen and the bedroom, this season Henrik Vibskov’s inspiration continues into the bathroom. The deeply personal rituals of washing and getting ready for the day ahead is what inspired Vibskov. The steam from the hot shower fills the room and we emerge fresh with rosy cheeks and wet hair as referenced in makeup and hair during the cat walk show. The collection reflects the theme in various ways; special jacquards in the clothing design, inspired by vintage bathrooms structures, colour and pattern, prints of flowing water, soap bubbles, and glossy surfaces inspired by steam and water drops. This season 95% of all the range are made with sustainable materials. The fabrics have outerwear that are made in 100% recycled Pet bottles, and using wool from Norway where the sheep grace freely in the scenic landscape. Showing a mixed style referencing the 1970s, and a more urban modern style; Henrik Vibskov’s again defines the upcoming fashion styles for next season.
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Fashion Editor: Savannah Barthorpe Creative Director: Christopher George Photographer: Silvia Draz Bianca Saunders presents a deeply personal collection for autumn/winter 2020, both her Black Caribbean roots and also her signature cutting that captures movement in clothes. “This is a collection about my background, about my heritage, about being Black Caribbean. I used distortion, things that curved, and always a play with gender, and how we see masculine clothes,” says Bianca. Padded jackets have wire running through their horizontal seams, creating shapes as if movement has stopped and paused. Similar within the hem the black cotton drill shirt, capturing a moment of fluidity. Bianca has developed a signature shoulder that combines strength and softness. A shoulder-pad sits on top of a sleeve-head that’s tucked in underneath, creating a correct tailored line with a shoulder that reveals sensitivity beneath. Waistcoats are cut super-long, their points reaching the knees. T-shirts are folded and gathered. Bianca introduces pops of colour for the first time, like an electric blue stretch rollneck. Accessories feature as a new addition, with wire in their frame as in the clothing design, to hold endless possibilities of shape. Footwear is in collaboration with Hernan Guardamagna, a fellow graduate of the RCA, with moulding that echoes the caught movement of the collection. PR @PURPLE PR
Fashion Editor: Savannah Barthorpe Eastwood Danso's designs are rooted in his interest in creating a visual commentary on heritage, politics, and identity. Exploration of the self is key to AW20, from flesh and bone to the mind and senses. Danso is captivated by the symbiotic relationship between our own self-view and other people’s view of us. Religion has been a key part of Danso’s life – attending church is an abiding memory from his youth, but that’s not to say this collection is overtly religious. Rather the idea of rebirth – taken from his father’s born again Christianity has been a source of inspiration to him. The leaving behind of a past life is mirrored in the fusion of tailoring and leisurewear, many of the clothes he has created are an alteration on a traditional trope, no longer fitting into a known category. Danso continued collaboration with Converse, as he presents conceptual takes of the brand’s classic silhouettes, like the recently reintroduced Pro Leather, in his AW20 show. PR @agencyeleven
Fashion Editor: Savannah Barthorpe Arts Editor: Christopher George Photography: Cassian Thomas De Cruz Feng Chen Wang AW202 collection hits London Fashion Week Mens catwalk running!! This distinctive and directional collection streams futurism with functionality, flair with drama, nature with emotions. The narrative of this collections along with the colours, waiting and hoping for dawn – especially during hard times – that forms the foundation of the collection. This season, Feng Chen Wang reminds us not to give up and encourages us to keep on climbing, step by step. Tough times may lie ahead but, as this collection hopes to remind us, dawn will surely come. The colours of the collection take inspiration from the dawn she witnessed in the Wuyi Mountains: darker, cooler shades such as icy greys and blues give way to brighter, warmer hues such as fiery reds. Meanwhile, the feeling of the dawn is expressed through various graphic patterns. PR Karla Otto
Fashion Editor: Savannah Barthorpe Photographer: Chris Yates The latest season AW2020 from Art School directed by creative partnership Eden Loweth and Tom Barratt bring a collaboration with British artist Maggi Hambling on several pieces, using layers of black fabric representing pail paint. In turn, each layer consists of recycled material from previous collections, to connect and acknowledge with the importance of the past and the biography of material. The artist smock is at the core of several looks, with a note to genderless workwear. Using contrasting fabrics such as PVC and rope suggesting a rebellion of PUNK into the ethos. Artist Richard Porter joined Art School for a second season, developing sculpture which is worn on the body. Each piece plays a autobiography with British landscape; Traces of rocks, driftwood, fossils and witchstones reference the sea. PR: Thelabbylondon
 MENSWEAR HIGHLIGHTS BY SARA DARLING Starting the year with a fashionable flourish, the 15th edition of London Fashion Week Men’s, took place over the streamlined weekend of 3-6 January. The watered down showcase was lacking some of it’s previous pulls- no Burberry, JW Anderson, Belstaff or Vivienne Westwood were on the schedule; even Craig Green and A-Cold-Wall chose not to show in Shoreditch. However, there were some highlights from the London stalwarts, Grace Wales Bonner, Charles Jeffrey Loverboy, Martine Rose and Edward Crutchley, along with interesting collections from newbies, Ahluwalia, Bianca Saunders, and Pacifism. From genderless collections to co-ed shows, London excelled itself on the casting of models for AW20, and there was a distinct representation of diversity of shapes and sizes and skin colour; not so much in ages. Art School Art School celebrating all things genderless, with zombie-like models dragging their bare feet along the catwalk- as a comment on current times. Gloomily optimistic, it is a comment on a liberal future, with fewer boundaries. Design duo Tom Barratt and Eden Loweth, sent out a haunting array of models in combinations of black artist’s smocks as a main feature of the collection, which showcases how versatile this unisex creation is. Further structured pieces were based on a collaboration with artist Richard Porter, which consisted of detailed sculptures made of rocks, driftwood, rope, fossils and small stones, which seemed to blend on the body as armour. Edward Crutchley There was a definite fusion of inspiration in the Edward Crutchley collection, which he described as ‘Glam epoch’. “These clothes are the sum of many parts, many places – an impassioned call-to-arms for a revived internationalism.” Designing for both sexes, there was a crossover between his and hers, and the atmosphere was decidedly dandy. From English chintz, to Japanese batik, to country and western suiting, the show was pretty moody, with myrrh and turmeric, grey, black and off-white, fighting for attention amongst high-shine oriental prints and crystal embroidery. Wales Bonner South East London might not appear to be the most fashionable district of the capital, but fashion is in the eye of the beholder, and Grace Wales Bonner, who has dominated the menswear scene for a couple of seasons chose Lewisham Youth Club as her inspo. . Her ‘Lovers Rock’ collection for AW20 was an intoxicating innovatory, inspired by John Goto’s reportage photography from the seventies. Famous for documenting young British African-Caribbeans, and their streetstyle of velour Adidas tracksuits and big hair, Wales Bonner dressed her models in ‘60s Savile Row style tailoring, oversized-checked suits, deconstructed blazers (with the lining worn on the outside), and a teddy-bear shearling jacket in chocolate brown and sherbet lemon. The looks were completed with her second collaboration with Adidas Originals for a modern interpretation of tailored casualwear with streetwear influences. Per Gotesson Referring to queer 60s playwright, Joe Orton, the AW20 Per Gotesson show took inspiration from his current home, which also happens to be Orton’s last London residence. An avid fan, Per says “He went to prison because he loaned books from my local library, defaced the covers and then returned them. Someone found out his name and discovered his entire flat was covered in book pages from the library. That’s visually the kind of look I was going for.” Motivated by his passion and single mindedness, Gotesson explored an idea of community and gender, and questioning the “normal” masculine and feminine roles. This was apparent in aprons, collaged ‘70s images created in collaboration with artist Patrick Waugh, thigh high splits, backless jackets and crushed velvet. Charles Jeffrey Loverboy For pure theatre, Charles Jeffrey’s Loverboy collection took place in the Battersea Arts Centre. And although the show started off more dramatically than usual, with models sashaying around a mystical, pagan tree, adorned with CDs hanging from its branches and crowned with a disco ball, the crowd was shocked into attention with the sound of an eerie organ and a woman's sharp scream. Taking inspiration from orthodox folk festivals, and historical costumes, an equestrian theme dominated the first few looks of the show with models donning Baroque style hair and makeup. Oversized trench coats, dramatic shoulders and cinched in waists were paired with sharp white shirts and ties, for a smart if not slightly OTT urban look. Models kept coming, wearing a range of checks and folk patterns and candy-floss hair, but the show would not be complete without a couple of references to LOVERBOY the club kid. The LOVERBOY logo synonymous with the designer’s early beginnings, ended his first show of a new decade with optimism, and a new set of environmental commitments. Bethany Williams Celebrating motherhood, childhood, sisterhood, and family, Bethany Williams highlighted the important family bond in her latest collection. Building on her collaboration with Magpie Project, a charity based in Newham, east London, which supports women and children under the age of five in temporary accommodation, Bethany Williams’ sustainable AW20 was an optimistic expression of future change, and her ongoing commitment to sustainability. Everything in the collection was crafted from organic or recycled materials – from old blankets and bedding and scraps of used tents, to offcuts of ribbons. Working with illustrator, Melissa Kitty Jarman, Williams used her paintings on primary colour, painted trousers teamed with miniature tops, printed outerwear pieces, tracksuits, parkas along with a range of hand-knitted jumpers and fringed blanket coats. Robyn Lynch Having just relocated to London, Irish designer has previously shown under Fashion East, but her first standalone presentation in London did not let her down. Remembering the Ireland of her childhood, AW20 focuses on isolation, and parts of her country that time forgot, like sparsely populated island Inis Orr. Dressing for warmth and practicality, Lynch continues with her signature layering, mashup of traditional textures and sculpted Aran knits. This was completed with a green and blue striped print, splashed across sleeves, scarves and trousers inspired by Aertel – the Irish teletext channel- a nod to how things used to be! |
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