LONDON FASHION WEEK
Spring 2015 Trend Report
September 12th-16th, 2014
Written by Alexa Carlson Fashion Writers: Emma Leuman
Edtited by: Paige Schultz, Fashion Editor Marissa Monett, Fashion Editorial Assistant
a letter from the editor It’s no secret that runway fashion is notorious for being misunderstood. For many, fussing over barely-wearable clothing that serves a strategic and inspirational purpose for the fashion world seems abstract and perhaps even trivial. As a result, people readily dismiss runway, claiming they just “don’t get it” as though they will never understand the method behind the industry’s madness. Known to break conventionality by defying the confines of commercialism, London Fashion Week has a habit of perpetuating this reputation. Yet, this season, London’s ready-to-wear spring collections were surprisingly just that – ready to wear. Featuring ensembles that could effortlessly translate from the runway to everyday life, designers’ attainable, consumer-focused lines had the Moda Fashion Team and the rest of the fashion realm swooning. Encompassing a variety of trends that can be tailored to nearly anyone’s personal style, LFW made a statement per usual, but this time it was one of accessibility. So my question for you is, what’s not to get? Here’s to the London look. Paige, Fashion Editor
September 12th DAY ONE By Alexa Carlson The runways of London Fashion Week commenced in fifty shades of grey, literally, as designers featured variations of the hue in their collections. At Daks, grays took on a pearlescent sheen. Their pieces, including a metallic gray, feather pencil skirt and a pair of slim, silver trousers, caught the runway lights beautifully. Jean-Pierre Braganza showed countless color-blocked looks in black, white and taupe for a great graphic effect. However, sheer black leggings, a boxy, white leather moto jacket and intricately beaded appliquĂŠs were edgy details that made his collection anything but dull. Designers like Norma Kamali and Christopher Raeburn used the palette to instead create sporty looks, with leather accessories refining zip-up sweatshirts and sleek lounge pants. Ruffles and gathered materials joined the neutral hues on Day One. Daks chose to layer their ruffles on tanks and even a maxi dress. In true London fashion, Eudon Choi showed trench coats featuring frills at the hem. One of the freshest interpretations of the ruffle appeared at Wayne with a printed pair of trousers and gathered skirt. Are ruffles here to stay? There are no promises, but leave it to London to make them cool again. Daks (photo from Style.com)
Top: Jean-Pierre Braganza, Christopher Raebun, Jean-Pierre Braganza; Bottom: Wayne, Eudon Choi, Norma Kamali (photos from Style.com)
September 13th DAY TWO By Emma Leuman Street style’s return to the 90s has been welldocumented, with plaid, crop tops and brown lipstick recognized as apparent trends, but this season, designers added components from the millennium era into their collections, as well. Textiles resembling plastic were seen on multiple runways in London on Day Two, insinuating memories of Britney Spears’ red, plastic jumpsuit from “Oops I Did It Again.” With synthetics in natural metallics at McQ Alexander McQueen and neutral shades at Holly Fulton, plastic suddenly became less adolescent and more “young adult.” Drawing from the 90s yet again, hemlines crept up in many collections. The micro-mini skirt was featured in both its metallic iterations and in more polished suedes and ribbed textiles. At J.W. Anderson these minis were paired with crop tops, displaying more midriff than previous seasons have showcased. Marchesa’s bohemian collection turned away from the 90s, as well as its other collections, to produce breathtaking garments. Sure to be seen on the red carpet during the upcoming awards season, the filmy, floral gowns stood out among a sea of white and black this fashion month. The deep colors integrated with pastels organically, and the flower crowns sported on the runway weren’t reminiscent of Coachella for a change. J.W. Anderson (photo from Style.com)
Top: Holly Fulton, Marchesa, Holly Fulton; Bottom: McQ Alexander McQueen, Marchesa, McQ Alexander McQueen (photos from Style.com)
September 14th DAY THREE By Emma Leuman Balancing sex appeal and propriety seemed to be the goal for Day Three of LFW. The ubiquitous crop top was replaced with plunging necklines in multiple collections, including those of Matthew Williamson and Temperley London. Both labels made a point to cover up a majority of the model, leaving mostly just their décolletage and chest bones exposed. Matthew Williamson’s take on low necklines leaned more toward unbuttoned dress shirts tucked into skirts, while Temperley London featured vests with nothing but skin underneath. Structured blazers and lapels were evident on the runway, as well, pairing nicely with the plunging necklines and keeping the looks from being too overtly sexy. Worn with slouchy pants or slinky skirts, blazers were given a casual makeover this season. Mary Katrantzou, ever the innovator, went completely against these trends. Instead of focusing on shape or structure, she worked wonders with interesting textiles. Usually known for graphic prints, this collection was decidedly more adult. Geologic patterns shimmied over the fabric, making simple shirt dresses and shifts look as if they were carved from precious stones. Animal prints have trended for a few years now, but after Katrantzou’s collection, rocks may take over. Mary Katrantzou (photo from Style.com)
Top: Mary Katrantzou; Bottom: Temperley London, Matthew Williamson, Temperley London (photos from Style.
September 15th DAY FOUR By Emma Leuman Fashion Month has a way of redefining femininity, but London’s take was surprisingly less overt. Focusing more on delicate allusions to the feminine physique, the main trends on the fourth day were strapless silhouettes and cinched waists. While these features are nothing new to the fashion sphere, both took new forms at LFW. The strapless dresses shown by Erdem had more interesting necklines than the typical sweetheart. With oval and cutout bodices, these strapless designs were more edgy than sweet. At Burberry Prorsum, waists were cinched with bunches of tulle, adding whimsy to their dresses and overcoats. At Christopher Kane, on the other hand, ropes were used to whittle the waist, adding a more rugged aspect to the silky suits and delicately embroidered dresses they were showing. Sticking to his aesthetic, Tom Ford didn’t adhere to any rules. His slinky pants and different take on tuxedos would suit a rock star’s daughter rather than the governor’s daughter. With his seamless pairing of the bad-girl and class-act motifs, Ford’s collection will surely be one to sell out in department stores Erdem (photo from Style.com)
Top: Christopher Kane, Erdem, Christopher Kane; Bottom: Tom Ford, Burberry Prorsum, Tom Ford (photos from Style.com)
September 16th DAY FIVE By Alexa Carlson As LFW came to a close, a trend was reborn in the very city that bred it. The mod trend was brought back by boxy cuts, short hemlines, graphic patterns and over-the-knee boots. Most notably, Osman showcased an array of classic 60s silhouettes in fun polka dot patterns with a pretty pastel palette. Thigh-high peep-toe boots and cut out shoulders gave an edge to the designer’s ensembles. In addition to the classically British mod look, denim, the well-loved American staple, showed up on the runways in various washes and roles. At Ashish, slouchy sweatshirts complimented distressed, bedazzled jeans by toning them down and staying true to the casual nature of denim. Marques’ Almeida made the distressed look chic by featuring all-denim ensembles in a full spectrum of washes. The frayed hems on collarless denim jackets offered a faint likeness to Coco Chanel’s famous tweed jackets. Yet aside from this classic interpretation of denim, Marques’ Almeida broke the rules of conventionality by creating intriguing uses for the well-known textile. These included asymmetrical denim skirts seemingly constructed from the typical pair of jeans and loose-fitting pants with exaggerated cuffs and unfinished hems. Marques’ Almeida (photo from Style.com)
Top: Osman; Bottom: Ashish, Marques’ Almeida (photos from Style.com)
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