Mothership makes you feel new, wonderful things that actually, I know nothing about but you can always show it, tell the story. Welcome to this world, young Valentine – a name that couldn’t be any more fitting when considering the designer’s aesthetic – Romantic and Poetic. And a journey that is to continue, but with slight odes to deconstruction this time, and the preparation into becoming a mother. The coat-dress, free-size dressing, the unusual but wonderful silhouettes that come with pregnancy or thereafter. It was in a different state of mind, but all the more sensual for it as sheers were played with in fabrication and detail whilst intense blacks provided character, and the less romantic side.
Romanticism is a signature of Simone Rocha’s, but not always for the Romantic. In some instances, it can be tomboy. Expect to see pale, dusty pinks and blacks but recreated each season.
One word: sculpted.
In my opinion, J.W. Anderson is the contemporary designer to watch, as he sculpts the Fashion Industry because quite simply, he is a sculptural designer. I remember when I was first taught about draping. The tutor Julia who was the whackiest but most passionate and loveable tutor I ever knew said that, draping is like drawing with fabric and you have to feel it to get the best results.
Anderson dared to play and came out with some rather stunningly beautiful results if bizarre. There were the organic, draped shapes that most likely wouldn’t be served justice unless viewed in real life, in 3D. Some of these pieces reminded me of a Japanese aesthetic – the asymmetry, the sculpting, the idea of shape. There were other features that reminded me of the 1960s Space Age, particularly the ‘cape collar’ which I thought was genius and added a new notion of a femme fatale. The collection was quite simply ‘something else’ – and I love that.
Zips were a continual theme throughout the collection – less functional and more aesthetically pleasing but that’s not to say that it was completely dysfunctional. There were pouches (or should I call them pockets?) that could seemingly be detached via a zip, but there was also a parallel zip detail as decoration which I felt was really fresh.
I am still not quite sure how I feel about Burberry moving into the See Now-Buy Now schedule but fear not because Burberry creates some of the most desirable and wearable pieces! (Perhaps the most vital part if instantaneity is what they are striving for). ‘Glam Rock’ is perhaps the best way to describe the attitude of the collection, that really is, something still so current and made individual by the wearer. By this very nature, this oxymoron, it was so profoundly British. Add some glitz to a bit of rock, and you’re really in for a ride (and a long, but good, night).
There was so much to desire, and when channeling anything remotely Seventies, the fabric has to be right. Christopher Bailey did more than right. The fabrics were rich in texture, colour and print. There was the brocades, the sequins, the plaid, the herringbone, the jacquards and so much more, that popped in all the right places.
The outerwear was definitely part of the highlights of the collection – love love love the colour accent trims and button holes. It was also refreshing to move away from the infamous Burberry Trench into something of greater lengths. The details of the tailoring in particular were immaculate.
Season after season, Christopher Bailey is getting stronger and there is no backing down from Burberry just yet. I look forward to hearing more good news when its See Now-Buy Now structure finally takes place.
Note: All images courtesy of Indigital.tv via Style, Vogue and BoF