Graphic Effects
Do not adjust your screen. Intentionally distorted patterns in London extended the graphic trend that seared retinas the week before in New York. Members of the geometry club included Peter Pilotto, who combined multicolor, repeating, yet not repeating patterns to dizzying effect, and Clements Ribeiro, who surely required serious computer power (or a Spirograph) to realize his optic visions.
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| From left: Pringle of Scotland, Clements Ribeiro, Burberry Prorsum, Peter Pilotto |
Florals
After New York’s bold expressions of flower power, London designers took the floral trend down a romantic path make that a mist-shrouded country lane. From the watercolor botanical dresses at Richard Nicoll to the eccentric English-garden mix at Erdem, the blossoms brought a day-in-the-country spirit to clothes that could charm any modern-day Jane Austen. Green thumb optional.
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| From left: Nicole Fahri, Richard Nicoll, Christopher Kane, Erdem |
Fifties
Granted, June Cleaver never flashed as much thigh as some of the ’50s-evocative looks London runways revealed, nor was she as badass as the tough-chick looks that walked at Acne this season. But below Fashion Week's modern fabrics, bright colors and va-va-voom sexiness, the Leave It to Beaver era shone through with New Look silhouettes, buttoned-up crispness, and an infectious optimism.
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| From left: Jonathan Saunders, Daks, Acne, Erdem |
Space Age
Is the ray gun Spring’s hottest accessory? Nothing would pair better with the space-age looks that landed in London. Antonio Berardi explored the trend with geometric cutouts and high-tech fabrics, while Richard Nicoll did Barbarella proud with clear-plastic layers. But it was Giles Deacon and his liquid-metallic flapper skirts, some beneath far-out photo prints, who really took one large step for fashion kind.
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| From left: Richard Nicoll, Peter Pilotto, Giles, Antonio Berardi |
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