Why London Fashion Week may redefine the contemporary fashion landscape From Mary Katrantzou

Is it facetious to say London Fashion Week has grown up, when its sliding into its fourth decade this year? I dont think so, given that the shows have frequently been marked by a juvenile delinquency, by designers aesthetically sniggering and delivering clothes that seem not only unwearable (which sometimes isnt an issue) but unbuyable (which always is).

Something switched for spring/summer 2016. When you have Anya Hindmarch, Londons queen of the visual gag, telling you four days before her show that shes tired of the funny, punny stickers that have made her upwards of £12m in the past year, you know theres a sea change afoot.

Its nice to see designers taking themselves seriously – especially when that includes Hindmarch. She wanted the funny in her show this season to feel odd rather than laugh-out-loud, and while those stickers will still be there, they werent the main story for a collection of reappropriated high street slogans and logos (John Lewiss graphic strips, the Nationwide and Mothercare logos) intricately worked with elaborate inlaid leather, on handbags made by the same factory as Chanels 2.55. They werent laughable, though they did make you smile. Hindmarch kicked it up a gear.

Mary Katrantzou:
So did the rest of the best of London, for spring/summer 2016. Or maybe its just me that thinks that. The great thing about London is how it divides opinion, with shows being decried and hurrahed in equal measure. Maybe its because, by and large, designers showing here dont have the Damoclean sword of advertising to wield to ensure favourable reviews. Perhaps thats why debate swirled around shows such as JW Andersons, which would have been cheered if it came with a hefty ad spend, but was instead challenged: do women really want to look like this? Will anyone really wear this? I suspect they do, because its so definite in what its doing. Anderson fused Lara Stones Tomb Raider aggression with overblown Eighties gigot sleeves, short, tight skirts clenching their way up models thighs, and the occasional exposed brassière. Backstage, he dedicated the show to a womans odyssey, but really it was about oddity and, I like to think, about taste. Questioning what constitutes good and bad taste, and how to overturn those notions.

Thats the difference between a good designer, and a great one. Which was the issue with the much-feted Erdem Moralioglu. His show was an example of adroit dressmaking, not fashion. There was no attempt to challenge, or to experiment, just very many very pretty dresses, flaccid echoes of the work of Sarah Burton at Alexander McQueen, or the Valentino designers Maria Grazia Chiuri and Pierpaolo Piccioli. Erdem is often dubbed Londons Valentino, which sometimes feels like a sideswipe at how familiar his clothes can seem. At their best, theyre good, not great. And the same with the designers Roksanda and Emilia Wickstead, the latter showing her best, the former not so much.

Versus Versace:
Burberry Prorsum isnt really about good design – although Christopher Bailey can do that, and did this season. Its about big-top showmanship. This season, he recruited Alison Moyet to belt out a few greatest hits, a welcome respite from the anodyne newcomers designers have enlisted to warble live with all the energy of piped-in music in a shopping centre lift. The richness of Moyets voice mimicked the richness of the collection, frogged in gold braid, Burberry trenches in technical silk, studded with faux regimental buttons. That fusion of pomp and practicality was dubbed, by Bailey, Functionregalia. All one word, as if typed out on Snapchat. Which was, incidentally, where Burberry actually premiered these clothes on Sunday, ahead of a show that became just that – the pomp of the presentation overwhelming the practicality of showing clothes. I guess we can all catch up on it all online afterwards, so why not ignore the clothes, enjoy the spectacle. And tweet it, please.

Credit where credits due, Moyet has one hell of a set of pipes.

Mary Katrantzou

is a different matter altogether. She takes risks, and sometimes it doesnt quite work out. She dubbed this season an exploration of exploration, doublespeak for a collection that mashed together Romany and Balkan styles as if, somehow, reflecting the turbulent socioeconomic climate of Europe circa right now. Katrantzou is Greek, but her clothes, unlike that country, were rich, and a safe investment. There was a niggling sense of an opportunity unfulfilled, though, because Katrantzous exploration seemed to occur entirely after night fell. Where was the day? Maybe she didnt feel it was interesting to explore? Regardless, this collection was astute, assured.

Christopher Kane (Rex)
Christopher Kanes was, perhaps, also thinking of bigger things. His collection was, he said, about crash and repair. With Chinese markets hurtling downwards, I wondered if his crash metaphor was financial, and how that may impact his still-young business even with the Kering conglomerates considerable backing. The repair is the more interesting element, here represented by fractured, patched-together dresses, windowed with PVC and swatched in neon laces. Damaged goods was an interesting phrase, applied to frayed knits, darned and embroidered with scribbled motifs, to fringes swaying like unravelling fabric at the hem of dresses or randomly spray-painted dresses. Kanes work offered a striking alternative to the polished perfection that so preoccupied other designers. Maybe it was that genius rediscovery of the innocence of childhood. It wasnt the conglomerate manipulating these clothes, but Kanes hand. It was strong.

Versus Versace, by contrast, was all about perfection, and there wasnt much to think about there. Its short, sexy, brazen, skinny and permanently, preternaturally young. Its designer is young, too, a barely 30-year-old Belgian-Italian by the name of Anthony Vaccarello, whose gambit consists of suctioned-in cocktail dresses clanging with metal whatsits, very much in the very Versace mould of Gianni and Donatellas finest. This Versus show – the first staged in London – whizzed by in a blur of energy, binliner-shine patent leather, bouncing blonde Donatella hair and exposed skin. I sat opposite the original Ms Versace, who had the odd experience of watching a show executed under her own name (well, part of it). You like? she mouthed at me across the catwalk. I did…

Fashion is all about making the everyday extraordinary London Fashion Week, Vivienne Westwood, and slithery slips

The elevation of the everyday is sort of what fashion is all about – we all wear clothes, everyday. Good fashion designers manage to convince us that we need theirs, rather than other peoples.

The elevation element is most important when it comes to ideas, rather than price – although those are generally elevated too, given the materials and the workmanship in the really good stuff. Brilliant fashion designers should be able to (re)design a T-shirt and make it exciting, and interesting, and inventive. Vivienne Westwood actually did that in the Seventies, deconstructing its already simplified form, turning it inside out to expose scruffy seams. She was looking for something new, in the familiar.

Its not on the same level, but I cant help but ally that with the work of designer

Anya Hindmarch: politically Westwoods diametric opposite (she has signed photographs of Margaret Thatcher in her office; Westwood once dragged up as Maggie on an April Fool cover of Tatler), but with designs that also questions that status quo. Hindmarchs work is rooted in luxury though, not changing culture like Westwoods.

Her most successful handbags resemble a crumpled crisp packet or a box of Frosties cereal. For spring/summer 2016, shes selling a common or garden scouring pad. Except, its made of mink. Theres something wonderfully perverse about that; perhaps even obscene.

Perhaps this whole idea – of elevating the everyday – is characteristically British. It would explain the fact its preying on my mind while were are knee-deep in the final flurry of London Fashion Week, before the action moves across to Milan and everything gets far more precious.

I cant help but contrast Italian and French fashion with ours – theres a long history of them razzing things up far more jazzily than we do, and a tradition of the British drawing on working clothes for even the most formal of garments. The tailcoat, for instance, was a result of revers being cut further and further apart to facilitate riding on a horse. Its fashion born of function – although a mink scrubbing sponge is something different.

I wonder if thats why I, personally, react so violently against clothes that seem crafted just for decoration, or to reduce women (and sometimes men) to the same. Theres been plenty of that this season, ruffles and florals and flounced skirts that grip and impede movement, slithery slips that threaten to expose the models undercarriage, or make it look like theyve dressed in haste, and forgotten to put their top layer on. Stupid stuff. Stuff that gives fashion a bad name.

Maybe youd lump that lump of fur in with that notion. But at least it makes you laugh. Thats another essential component of British fashion, after all.…