London Fashion Week SS20: Everything we learned, from high-octane trends to troubles ahead
Olivia Petter rounds up the key talking points from this season, from Billy Porter’s christening as a Fashion Week darling to Christopher Kane’s calls for ‘eco sex’
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Your support makes all the difference.After a long weekend of sartorial razzmatazz, London Fashion Week has drawn to a close.
While the usual splendour unfolded, with trends more bombastic than the next, and well-heeled celebrity attendees pursing their lips on the front row, aka “the frow”, there was something strange in the air that coloured this season with its most offbeat shade yet: uncertainty.
Like almost every other major industry in the UK, the fashion world has been stung by Brexit. Earlier this month, the British Fashion Council said that tumbling out of the EU with no deal could cost the industry £900m. While large businesses will likely find ways to cope, smaller fashion brands, of which there are many, may not have the cash flow to survive such a scenario.
Elsewhere, protests organised by environmental activism group Extinction Rebellion tapped into fashion week’s conscience, prompting us all to reconsider how and why we consume clothing – and at what expense.
But the clothes themselves rebelled against such anxieties, with trends that sparked joy rather than sense and gargantuan gowns worthy of a wayward Disney princess.
Here is our round-up of the key talking points from this season’s London Fashion Week.
Billy Porter stole the Frow
When it came to this season’s front row guests, no star shone brighter than actor Billy Porter, who was a loyal attendee at all of the best shows and arrived wearing a different ensemble to each. A high point was spotting Porter step out of his chauffeured car for designer Richard Quinn on Monday evening dressed like the Wizard of Oz, only to be greeted by a sizeable queue because the show was running late.
Visibly bemused by the very British act of queueing, the Pittsburgh-born performer stood adrift for several minutes until a member of his entourage whisked him inside through a side door. Wizards don’t do queues.
Christopher Kane married sustainability with sexuality
The British designer’s show was once again all about calling for “More Joy!”, and maybe a bit more sex as well. The slogan, adopted from the title of 1970s sex manual The Joy of Sex, has featured in Kane’s collections for several seasons now. While the words themselves appeared on nothing other than Kane’s T-shirt when he appeared for the finale, their ebullient message undercut his entire collection. But there was an environmental twist. Dainty florals covered overcoats while leafy prints adorned ruffled skirts, giving an earthy feel that was sexed-up by new slogans, such as “Eco Sex” and “Make love to the wind”.
“It’s about people who love nature,” Kane told Vogue. “Making love in nature. Being in touch with the earth. Sleeping with the stars! We’ve had a lot of fun coming up with words for it in the studio.”
JW Anderson delivered spangled lingerie
Models were adorned in jewel-encrusted bras (Getty)
The British designer is better known for his tailored coats and utilitarian accessories than his lingerie. But this season, Anderson styled swirled crystal bras over many of his looks. While we can’t picture ourselves making the same statement in spring, the designer’s unabashed celebration of female sexuality was clear and impactful. There were plenty more wearable options too, from draped jersey dresses to a slick beige overcoat with contrasting white lapels.
Long sleeves and cowboy boots made unlikely returns on and off the catwalk
This was the season when designers got experimental with sleeve lengths. Perhaps they are anticipating a chilly spring/summer season, hence why so many sleeves extended beyond the wrists and over the knuckles for maximum coverage. We saw such drapery at Roksanda, Victoria Beckham and Margaret Howell to name a few. Meanwhile, Erdem rolled his sleeves so far down this season that the hands of his models were erased entirely.
Cowboy boots were another unexpected trend, both on and off the runway. At Christopher Kane we saw them re-imagined with colourful circular patterns, creating an artistic effect. But the classic Western versions proved just as popular among the street style set, who wore their boots underneath pleated skirts and floral tea dresses.
Extinction Rebellion made their voices heard
The environmental activists, who called for London Fashion Week to be cancelled earlier this summer, began their protesting activities by gluing themselves to the doors of the British Fashion Council’s main show space and pouring fake blood on the pavement. It was quite the statement, one intended to represent the consequences of the industry’s carbon footprint.
The group continued to protest – or “swarm”, as they call it – over the course of the weekend, culminating in a funeral march due to take place on Tuesday afternoon to “show the industry that enough is enough”.
Notable absences on the line-up raised questions
This season, fashion fans were disappointed to learn that popular designers including Vivienne Westwood, Shrimps and Ashley Williams, would not feature on the schedule.
Some guests questioned whether their absences were a sign of difficult times, perhaps prompted by anxieties about Brexit or the financial demands that a Fashion Week slot requires.
The absence of Westwood was particularly noticeable given last season’s spectacle, which featured a lineup of activists (including actor Rose McGowan) protesting about capitalism and Brexit on the catwalk. It was a shame, then, to receive nothing but an email this season about the avant-garde designer’s “digital launch” for spring/summer 2020. Titled “No Man’s Land”, the collection is once again focused on tackling social, political and environmental issues.
A statement from the brand suggested that the lack of a catwalk show might have something to do with our “rotten financial system”, and directed fans to Westwood’s website to see the new collection.
“We are using this as an opportunity to show our best clothes,” the statement continued, “the future is quality not quantity. Less is more sustainable.”
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