As London’s men’s fashion week gets ever smaller it becomes even harder for designers to make an impact. The four day event is really only two days with a mix of established brands and young designers trying to pad out the schedule. Like a Summer pond retreating, due to lack of rain (funding), with LFWM's decreasing pull the audiences are smaller and less important. Under this handicap, designers have a few short minutes to grab people's attention and resonate further outside of the room. When you look at the expense, you do wonder why anybody is crazy enough to do it, but that’s what makes you love the ‘art’ of fashion even more. LFWM is as much about getting together and looking at each other as it is about trends and looking forward. It’s not really even about selling clothes anymore, it’s like a social event or festival.
Left - RCA Graduates Gráinne Walley, Right - Clara Chu
On London Fashion Week Men’s opening night, the Royal College of Art graduates held a show called ‘All at Once’. The 50 MA graduates each had one look each which gradually rotated around the room. Held at a new retail development on Cork Street in Mayfair, this new way of showing ever increasing volumes of students makes it increasingly hard to see a story in people’s ideas or only gives them one chance to grab your attention. They were saying it was a reflection of the cost it takes for students to produce these collections and, possibly, a reflection of the times of not making huge amounts of stuff with one student offering ‘Extinction Rebellion’ as a reason for not producing anything physical at all.
It’s a tough task to show this amount of students in a realistic amount of time, but it might be better to possibly break them up and give them 5 looks to show in differing categories. Unfortunately, depending on how you look at it, the more stuff you produce, the more opportunity you have to mentally sell something to somebody. Desire triggers people sharing and buying things. Noted highlights were Irish graduate Gráinne Walley’s Game of Thrones type armour and Clara Chu’s food inspired accessories.
For the remainder of the fashion week, the front rows were still sprinkled with Burberry check and Balenciaga Triple S trainers, all seen this time last year, and a sign of the lack of hit replacements even though fashion giants continue to churn out incredible amounts of product and ideas.
Here are some brief highlights of LFWM SS20:
This South Korean label, established in 2013, and with creative direction by Hyun-Min Han, made its London catwalk debut. An alumni of Wooyoungmi, Han showed a sophisticated collection mixing pinstripe tailoring and sportswear with flourishes of ruching and ruffles with a finale of models all wearing branded Münn suit bags.
Following her first collection as part of Fashion East, last season, the Dublin-born returned with more of her stylish normcore. This time it was summer towelling mixed with traditional Irish knits and sports fabrics in her mono-coloured looks which are fast becoming her signature.
Nicholas Daley gave LFWM a tribal jazz happening in a 18th century church in the City of London. The ‘Sons Of Kemet’ band dressed in a warm, bold checks made from British fabrics created a crescendo of music and that quickly fell into a party atmosphere with looks referencing his Jamaican heritage.
McQueen came back to London town with its usual exquisite tailoring and its fashion as art raison d’être. As well as the all ultra smart evening wear, there was watercolour symmetry prints and bold fuchsia pink florals in the charming surroundings of the C1348 Charterhouse in Farringdon. I just wish McQueen’s accessorises were as elegant as the clothes. Those chunky trainers and boots just don’t sit right and aren’t the best of their type.
Hussein Chalayan celebrated 25 years with a walk on the street near his store in Mayfair. Lucky with the weather, and with the backdrop of a textured stone wall clean striped shirting - something that continues to look fresh - in simple shapes and a minimal palette was a reminder of this experienced technician of a designer.
For the past few seasons Lou Dalton’s collections have been dominated by her collaborations with British fine knit manufacturer, John Smedley. This season, she returned to a fuller offer with outerwear, shirting, tailoring and, of course, knitwear, but this time in fine rugby shapes, in a collection of easy and stylish clothes which don’t scream ‘designer’. A return to beautiful things?