London Fashion Week: anarchy, androgyny and retro Americana
Everything you need to know from day two of the AW17 shows
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Day two and the fash pack are really getting in to the swing of things.
From fledgling talents at Fashion East to homecomings at Ports 1961 and Donatella¹s supermodel extravaganza, London Fashion Week seriously kicked it up a notch today.
Gareth Pugh
It might have been the penultimate show of the day but Gareth Pugh's new season collection made the biggest impact of them all.
As relentless looping samples of Donald Trump hailing "Build that wall" and snippets of Hendrix, Queen, Nirvana and Madonna sound, models sashayed through the concrete apertures with troubling ferocity.
Bug-eyed and blacked-out, they seemed emotionless and wild.
Pugh described the collection as "an austere vision of a world on the precipice of anarchy" signalling the threat of radical extremism and the reigning of a self-confessed pussy grabber as his muse.
The clothes themselves consisted of strong, architectural silhouettes with pieces that resembled police riot gear, dusty combat boots, billowing trash bag silhouettes and officer hats with netted veils.
This collection tore at radicalism, anarchy and the commanding power of femininity.
House of Holland
Henry always designs with a London, cool-girl aesthetic in mind but this season, the designer looked to stateside gasoline girls and retro Americana.
Entitled 'Daddy Where¹s My Car?', House of Holland presented a mish-mash of checkerboard prints, red white and blue stars, fringed flares and cowboy boots.
As always, this collection was all about wearable but adventurous pieces with sartorial staples elevated to a new, fun level.
Think oversized puffa jackets, mohair knits and girlish pink hoodies scripted with the word ŒBitches.
Not to mention everyone¹s favourite cartoon bird, the screwball Woody Woodpecker. Unveiling a 15 piece throwback collection jackets, dresses, denim and footwear were all inspired by the retro caricature.
Designer Henry Holland presented cowboy-shirt-like dresses with fringes, flared trousers and plenty of colorful cowboy boots, also decorated with motifs such as stars and flames.
Versus Versace
The cooler, edgier sister line of Versace, Donatella had the Hadid girls at the front of her mind when creating this latest collection. The sisters, who both opened and closed the show, presented party-loving garb under stark bright strobe lights with a seriously androgynous edge.
In good company, the pair were joined by the likes of Adwoa Aboah and Taylor Hill parading military-esque two-pieces, cropped tops, low sling trousers, stomper boots and the word VERSUS emblazoned wherever feasible.
Aside from a spattering of colour, burgundy and electric blue, an all-black line-up of aviator jackets, leather skirts and racer-back mini dresses was extolled with greased-up, tousled bed-head hair.
J.W. Anderson
A designer known for his permutation of gender today¹s offering from Jonathan Anderson leached with femininity. The sharp silhouettes were there as always with clean, lean lines and square-cut toes but this time they were alleviated and livened up.
Draped jersey, ostrich-feather inserts, patchwork dresses and metallic chain mail tops offered a decadent spin with crystal embellishment and leather strap detailing really ramping up the edge.
This season, J.W. Anderson¹s aesthetic was more focused than ever before, sticking to the brand¹s signature deconstructed style but, just a little more put-together.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments