At Simone Rocha, three-dimensional flowers and transparent trenches and dresses made for a visual treat in what was a solid collection.
Call them Tom Ford’s ladies of the night. Always a highlight of the London show season, the designer who defined the world’s notion of sexy, for spring, set about rewriting his own rules. Thigh-skimming dresses, beaded bondage bandeau tops and a “rock sensuality” dominated his fabulous show. The references to his own 1990s greatest hits were evident, but modernized: models, sporting a singular smokey eye and slightly spiky tousled hair, paraded a cast of black must-haves, from the oh-so-skinny pantsuit with ultra-flared trouser to skirts slit so high the stocking tops were visible. The references to Ford’s collection of vintage Carlo Molino photographs and his utter obsession with pushing the limits of fashion and sexuality were at their apex. Metallic bejeweled floral pasties covered their bosoms (when they weren’t fully covered up save for a plunging slice down the chest). All that was missing was a crooning Justin Timberlake.
A rope motif played up Christopher Kane’s nautical theme for spring.
Set to runway music performed live by acoustic-guitar artist James Bay, the spring collection Christopher Bailey sent down the runway at Kensington Gardens was fitting given its environ: country-inspired, pastoral and ripe with references to “insects of Britain” and “flowers of Britain.” That translated into a myriad of gabardine, silk and suede looks in colors as lovely as poppy red, pale sweet pea, dragonfly blue and beetle green. Most obvious was the insect reference: butterfly wings maxi-scaled and bees hand drawn onto clothes and morphed into a new Burberry Bee bag in bright hues. A lovely juxtaposition of hard and soft featured such elements as wasp-waist denim jackets (pun intended) paired with delicate skirts and knee-length dresses made from pastel tulle. As for the shoes, they were comfy to a tee: flat, Birkenstock-like sandals and bright patchwork sneakers.
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