The Top Five Collections Seen in London Fashion Week Fall 2019

At The Store X, 180 Strand, The London Fashion week Fall 2019 spread its red carpet on 15^th February continuing to 19^th.  The show seemed to be carried away with the mood of the retro era complying with the fashion palate set in the previous show for the year.

The show saw some grand, voluminous evening wear at Erdem and Roksanda, and Matty Bovan, too who spin it in a witchy way with his own signature style. Simone Rocha presented sequined dresses, which addressed all ages and shapes of womankind that again was one of the raving socio-fashion images of the year. Grace Wales Bonner’s outstanding menswear collection (with some looks for women) was inspired by black intellectuals and went deep on spiritual resonance.

The collections that came out on top of the 4 days show were the unapologetic Liberty of Matty Boven, JW Anderson, Burberry, Simone Rocha, Wales Bonner and Erdem Moralioglu.

Matty Bovan showed fabric–swathed crinolines, puffed sleeves, crocheted cobwebs, and squared-off knitwear shapes resembling domestic loose covers or rugs. Vivienne Westwood praised the DIY craftiness of Bovan and even hailed his collection as a new punk. The collection was somewhat a reminiscent of the 17^th century witch-hunt of England’s that equivalent to the hysteria of the Salem witch trials.

JW Anderson took an advanced leaps and bounds in terms of sophistication and adulthood reflecting both variety and coherence. The collection comprised exaggeration and drama with the huge wraparound jacket and a quietly chic gray cape with equal skill. On the other hand it also showcased his perfectly tailored androgenic trousers that made his audience walking on air.

Burberry came up with layered rugby shirts and an insight of a new code of youth style with coded references to ’90s anti-establishment phases of rave and deconstruction. With corseted tops pulled on over a polo shirt, a stretch cycling dress or tracksuit bottoms and bomber jackets and dresses the collection reflected grunge moments teaming up with glamour of sequins. The collection also featured pieces like corseted lingerie layered over a white T-shirt, upside-down attachments of padded jackets on suits made of tweed.

The Irish designer Simone Rocha compiled pretty and compellingly wearable ensembles with a casting that kept knocking with the fact that the designer had something dark lurking within her research. She explained the collection to be coming by viewing the work of film director Michael Powell, who made The Red Shoes especially his controversial horror movie Peeping Tom. The infamous sadistic turn of a movie that nearly ended Powell’s came up with her acknowledgement of formative attachment to the work of Louise Bourgeois, whose themes were also a startlingly honest struggle between tenderness and sexuality, often expressed in fabrics and textiles. “I found her series of weavings, which she’d made with fabric from her own clothes, particularly beautiful,” the designer said. 

Wales Bonner concentrated the collection on African intellectualism. The designer explained the collection as an inspiration of black intellectual dress at Howard University, the first black university, in cooperation with a lot of yearbooks. The designer indeed identified a lot of items, like a mac or a varsity jacket, and a specific type of wider tailoring.  The designer further stated, “So it’s actually quite American, but then I’m trying to imbue this classic framework, but with this sense of magic that comes from another place with Voodoo jewelry feathers.” 

The Veteran designer Erdem Moralioglu signed his collection in the name of English ’60s with hints of Mary Quant’s early use of groovy lace tights, tweeds, and kinky leather boots. The collection showed innocent virginal fashion with bubble dresses and bows galore, sweeping trains and gleaming, ostrich-feathered embroideries, frilly collars. His collection was seemingly inspired of the story of an Italian princess who wore her jewels on the insides of her jackets at one point, and ordered a wedding dress covered in black roses, out of respect for her deceased father. Erdem wrote the story with utter richness, gorgeousness, formality, and a touch of darkness at its best.