Goths, Dogs and Monsters
First published 20th February 2012
Marios Schwab: Arguably the most dramatic show of the day, Marios Schwab’s models walked to a haunting instrumental version of Eleanor Rigby clad in the designer’s trademark sharp tailoring and half blinded by asymmetrical cloches, big-brim hats and hair that was pulled clean across the face. Cuts were futuristic and colours were muted yet romantic, with muddy browns, swamp greens and deep maroons offering a pre-Raphaelite feel. Sheer shell tops were sexy yet ladylike and worn with sequinned midis, while embroidery added a priggishness to the swathes of fur and leather that are proving to be one of the season’s key outerwear trends.
John Rocha: I love a bit of a feral look, especially for Autumn/Winter, and John Rocha’s collection was about as wild as they come. Models’ hair was centre parted and backcombed; eyes were smoky. The pieces came in sludgy shades of chocolate and olive; gorilla-like fur coats were trussed up with chunky buckles and belts; and tactility reigned with puffed-up 3D blouses and dresses that screamed out to be touched. The super-chunky jackets were beautiful, but it was the delicate maxi dresses quilted from scraps of petrol-blue nylon and inky lace that really stood out. The wonderfully nostalgic soundtrack featured the Velvet Underground and PJ Harvey, adding to the grungy beauty of it all.
Topshop Unique: Topshop Unique’s two most recent collections have focused on pop culture, inspired by a hip-hop Cleopatra and 101 Dalmatians’ Cruella De Ville respectively; a far cry from this season’s sobriety in the form of deconstructed military jackets, androgynous utility wear and restrained hues. Sleeves were rolled up in a no-nonsense manner, while pockets and zips were large and practical, as were the chunky knits. Tiny black bralets peeked out from beneath oversized boyfriend jackets, while ladylike velvets took on a masculine feel in the form of sensible jumpsuits and dungarees. There was some light relief, with holographic dresses and shorts in muted copper and iridescent mermaid frocks covered in winking sequins, but this was largely a very grown-up collection indeed.
Louise Gray: Next up was Louise Gray, who presented a look that hovered somewhere between futuristic Grecian goddess and Pat Butcher on acid, fusing optical-illusion graphics in black, white, pink, red and blue with giant earrings, ’80s make-up and elaborate headdresses. Never one to shy away from print, Gray teamed patterned leggings with matching knee boots and clashing smocks – an ultramodern take on the twinset. Chalkboard scribble was scrawled onto jackets, while foil shapes and panels added a robotic element to dresses. Yellow zigzags like smudged road markings tattoed simple collarless coats, whose loose tailoring with half sleeves provided a suitably bare canvas.
Mulberry: And then there was Mulberry, the go-to label of luxury, who delighted with butter-soft leather and some of the most beautiful fur I’ve ever seen. Again, colours were hushed, with browns and blacks dominating, but orange also provided a keynote, albeit more of a dark saffron than an intense citrus. Unlike previous incarnations, this season’s fur was long and shaggy at Mulberry, and worn belted over quirky pencil skirts in autumnal tones. Quirky thin-knit jumpers printed with owl-like creatures were worn with lacy skirts and fold-down wedges. Patterned coats and dainty puffas lent a fresh edge to outerwear. But the best moment of all? When a model in an outrageously strokable Mongolian goat hair skirt led a tiny mop-haired dog up the catwalk…
Frockd 