See backstage and runway shots from Molly Goddard, Karl Templer's collection for Ports 1961, and more.
For those caught in the fatigue of fashion week, we offer a roundup of scenes you may have missed from London, courtesy of photographer Peter Lowe.
Erdem combined traditional and Victorian styles in his masterful design of no-waist dresses. Prodigious proportions and vibrant colors were metaphorically inspired by the life of actress-turned-social revolutionaire Tina Modotti.
Marta Jakubovski used her deft cutting techniques to challenge the gendered nature of conventional dress proportions. Galvanizing color, as well as layered and draped tailoring, created an aura of immediacy.
Ports 1961, featured the debut collection by Karl Templer. Templer used a range of ecstatic patterns and spliced prints for his dresses, jumpsuits, and pajama suits. Zebra, floral, and Matisse-like figures all included. Colors were as equally disparate: vivid gold and saffron, earth tones, muted blues and greens.
Designer Molly Goddard showed off her technical and imaginative pomp with a collection that included ruffled dresses and tulle skirts. Exaggerated silhouettes and bold pastels communicated a playful and perhaps sinister fantasy.
Left: Molly Goddard. Right: Toga.
Experimentation abounded in Toga by Yasuko Furuta. Furuta admitted that she was attempting to be “unnecessary” and “indulgent” with this collection. The result was a confusing and freeing mix of workwear and dresses.
Making her LFW debut, Supriya Lele’s collection offered a sophisticated study in heritage. Airy and layered mesh fabrics gave a sense of quiet capaciousness, expressing the freedom to remember and reshape. Unraveling one’s cultural memory requires a gentle and joyful touch, of which Lele seems to have.
Preen by Thornton Bregazzi reproved their knack for creating captivating party dresses. But this time, the collection held a secret: its materials were sustainably sourced from past seasons’ leftover fabrics. Sustainably sourced viscose was also used, and georgettes were made from recycled plastic bottles and textile waste. Amidst the LFW and global climate protests, Preen provided a compelling response. Preen’s collection showed that sustainable design does not mean sacrificing character and stylistic integrity.
