The best moments and looks from London Fashion Week


After a truly historic week, London Fashion Week has closed with a fitting tribute to Queen Elizabeth II, as Richard Quinn dedicated his entire show to the monarch’s mourning attire.

The first 18 looks sent down the runway were all black widow weeds, embellished with feathers and jewels and wrapped in heavy lace veils. Beautiful and poignant, it seemed fitting that the first recipient of the Queen Elizabeth II Fashion Award in 2018 should now pay such tribute to the passing of the monarch, who sat front row at his show seen.

Scroll through the gallery above for some of the best looks from London Fashion Week

Amidst the mourning looks, Quinn also showed off her love of color and pattern in sparkly flowy mini dresses that hung high around the ears and were paired with thick tights or thigh-high boots. Edgy, modern and edgy, they too gave a nod to the colorful outfits the Queen was so famous for.

At one point, London Fashion Week looked as if it might not take place at all after the Queen’s death, but the event went ahead, although it was greatly scaled back. The designers had the presence of mind to deliver collections that managed to carefully navigate the respectability and raw, festive fashion that London so shines in nurturing.

Earlier in the week, Harris Reed presented a collection that shows exactly why he’s the darling of the fashion crowd. Featuring a performance by Adam Lambert, who sings as part of a collaboration with rock band Queen, Reed’s show channeled old-school glamour, mixing exaggerated shoulders, form-fitting dresses with mermaid hems and oversized, plunging hats one eye.

At Edward Crutchley, a sea-themed show unfolded as metallic fabric formed into rounded shapes around the body, culminating in a tiered dress in shimmering tones of vert de gris and seashell pink. And, thanks to the platform sandals worn underneath, she got a high quality, like Poseidon.

Xh. Then came otherworldly shapes, such as a silver dress that swirled around the hips.

JW Anderson sent an upside-down blouse as a dress, with a coat hanger around the model's neck.  Photo: JW Anderson

Christopher Kane, too, explored a new direction, seeing the anatomical drawings that were then scattered across the footage.

At Simone Rocha, – who chose the Old Bailey as her venue – menswear was offered for the first time in a show so spectacular it received a standing ovation. The mix of parachute fabrics, straps and veil-like layers of netting was sumptuous and extremely tasteful. The show was booked with visuals accompanied by veils.

Simone Rocha has mixed military elements such as parachute fabrics and aviator jackets, with flowers and veils.  Photo: Simone Rocha

Erdem also pulled out all the stops, delivering a show that, as with all of Erdem’s best collections, felt like crashing into the world’s biggest wardrobe box, filled with corsets, voluminous skirts and sheer chiffon. fragile. He delivered ultra-feminine dresses in retro-feeling fabrics, as if cut from the world’s most beautiful curtains. With dresses cut from halves of different fabrics, everything was extremely beautiful.

A complete look with a skirt finished with embroidery and veil at Erdem.  Photo: Erdem

Meanwhile, on the streets of Shoreditch, David Koma staged his latest round of high-octane looks, featuring floor-length skirts carved from one leg and form-fitting dresses. Best of all were the many thigh-high boots in orange, blue and a glittering rainbow that are sure to be seen on celebrities soon.

Molly Goddard put on a stunning show in bright rainbow tones and lightning bolts for days, culminating in a ball gown that appeared to be made entirely of gathered netting, while at Chopova Lowena the pair unveiled their first show on the track. Famous for its carabiner finished skirts, their debut outing was filled with color, pattern and a youthful energy.

Halpern opened his show at the Royal Exchange in a sunflower blue look tied under his chin and a large diaphanous cape that billowed royally. Definitely a nod to the queen, it felt a little out of place with the 1970s Studio 54 quilted looks that followed.

A model presents a creation for British fashion house Halpern.  AFP

Up-to-date and dynamic, the glamor came as tight, skimpy dresses and flared trousers with mismatched legs, before segueing into a Barbie-themed segment, complete with big, bouncy wigs. Bringing these quite disparate elements together, the final look was another scarf and cape combo, this time in retro-doll black.

Paul & Joe also used a scarf tied under the chin in a nod to the Queen, now in red gingham.

Updated: September 21, 2022, 12:00 p.m





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