Ben 3rd March 3rd, London Fashion Week received more and more support, from Hunter shoes started with rubber shoes to Japanese brand Toga, from American Tom Ford to Italy's Belstaff, more and more want to reposition Their own brand began to choose such a larger stage to show themselves.
Old Fashioned Designers
This is the first time after Christophe Bailey took over the Burberry CEO. He completely released his hands and brought Burberry Prorsum a Bohemian Rhapsody. The windbreaker has truly become a "wind" clothing, which can be swept around in the wind and is also a flowing fashion. A variety of exotic prints appear in the form of large, flowing towels and draped trench coats, displaying the beauty of the chest in a layered and elegant manner. Instead of using three-dimensional cuts or special fabrics, using fabrics, prints, and styling, Bailey can easily use the most basic design elements to make fashion look three-dimensional. At the same time, Bailey also successfully reminded people once again that scarves are important in Burberry Prorsum. Since then, windbreakers and scarves must be present at the same time. Of course, there is a belt to help, and they can take a step closer to the most fashionable shapes.
Paul Smith's autumn and winter seasons have always been rich in spring and summer. The former has more levels than the latter's sheer stunt. Maybe because Paul Smith's source of inspiration is always men's wardrobe, men's jackets and long lines. This season is no exception. The color-fitting shirt inspired by a striped suit jacket opens. The long, ankle-length dress has an ultra-low chest, but it looks full of English because of the general outline of the coat. The ratio of non-high waist is Paul Smith's favorite, short coat must be at least below the buttocks, not to mention long coats, at least three centimeters below the knee. This style may be more suitable for tall and straight women.
Saying goodbye to naked sexy, Tom Ford moved to London and took a restrained route. The velvet gown and skirt had no tight dress and no gold. Tom Ford has designed the most conservative series ever, keeping it up to even cover his neck, not to mention sexy calves. Even more surprising is the appearance of the red velvet cake skirts that belonged to the 18th century. Old-fashioned leopard jackets and white suits were also present. Fortunately, there is a red bead letter dress marked 61, and a tiger-print dyed fur coat pressed to restore Tom Ford's gold label.
The new generation in transition
When people began to question whether Mary Katrantzou relied on digital printing, when the street beaters brought her designs out to the streets, Katrantzou transformed the design in a timely manner. This is the vision that creative people should have. The opening of the embroidered tuxedo skirt and silk pleated skirt overflowed the entire show, from a typical "show off the second generation" to a "really rich second generation." Katrantzou helped the young people succeed in finding value. Instead of drawing inspiration from grandmother's wardrobe, digital printing was inspired by traditional embroidery techniques. Using lace, silk sheer, and metallic fabrics as a contrasting “bottom makeup†removes the staleness that traditional embroidery can bring.
Among a group of designers who have risen in the UK in the same period, Peter Pilotto and Mary Katrantzou are digital printing enthusiasts. From tailoring, he is one of the most daring ones, with a digital printing plus a 1+1 equal to 100 effect, which makes his design the most dazzling. If Katrantzou's design is more toward the women's wardrobe, then Pilotto's design is more from the male perspective. This season he is still clinging to digital printing, this time adding new elements of color blocks and fabric collages and breaking the monotony of digital printing. For many people, the biggest problem with digital printing is that it is so eye-catching that it can only be worn once. Pilotto realized this and kneaded all these elements together into a kaleidoscope and spun out a colorful effect, but its degree of brightness did not change.
Christopher Kane's design style has matured, freed from the sensational side of the public, and more about function and structure. The exaggerated play of the heart appears on the skirts and cuffs with the curling of the leaves of the European roots. Sweaters look like the breeze blowing up the leaves in detail. The skirt of a large piece of organza leaflets is extremely experimental, and the concept continues until the final climax of the dress. (Cooperative Media: Garment Collocation)
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