Explained by Hattie Payne
FASHION
With 2024 marking 4 decades of boundary-pushing, innovative and exquisite looks, this year’s London Fashion Week celebrated the capital’s creativity and its role in fostering fresh, upcoming talents.
This season saw sustainability becoming more of a by-product than a bonus, with many designers using eco-conscious processes to create their garments. Tammam partnered with Stop Ecocide International – a powerful force behind the global
movement that aims to recognise ecocide as an international crime and used exclusively ethically-sourced materials in their garments. Other designers followed suit, such as Pam Hogg who fashioned repurposed bin bags held together with rope, Lam Wing Sum’s use of waterless technology, and Vin+Omi’s iconic
Paint Tube Alien Dress made from recycled Daler-Rowney paint tubes.
The topic of the rising seas was a key theme in multiple collections, both relevant and ravishing in their approach. Designers used water-like embellishments and bold blues to create pieces which reflect both glamour and vigour, namely 3lato’s
collection from Flair Fashion x Beyond Horizons. Withemera used handmade dye and layers of candescent silicone fabrics to emulate the shapes and textures of the coast, and Fashion Scout China’s Viceta Wang incorporated splashes of silvers and golds inspired by the oceans tides. Qike Qilo featured 18K recycled gold and non-toxic enamel to replicate the shimmering movement of water, and metallic blues and pearl-greys surge through Zhaoyi Yu’s collection which explored how the ocean interconnects with the land and sky. But how can we talk about water without mentioning Di Petsa’s infamous “wet look” dress? Worn by the likes of Doja Cat and Kylie Minogue, the signature piece has recently gained popularity and explored the eco-feminist relationship between women and water.
Florals infused many designs, such as John Naftali’s collection which merged
bold eclectic colours with vintage floral prints, also incorporated by Fee
Muse, Chi Li, Zifei Wang and Buerlangma.
Plaid also made an appearance: Blacknini used tweed & multi-level interwoven yarn creating an air of Countryfile-chic, as well as Pieces Studios x Exante who incorporated tartan.
Other designers turned to the dark side, channelling their inner punk rock. Vital Ao comes to mind. Featuring patent black leather jackets paired with skeletal gloves and white furry wings that swept the floor, Ao leant heavily into the gothic pseudo aesthetic. Jen Lee’s collection also explored the grunge genre, comprising
of black leather gloves and pairing almost every garment with a black boot.
Tailoring was largely inspired by the 1960’s, with collections boasting a mirage of pleats, cut-outs, folds and frays. Chi Li paired corsetry with flowy skirts and flared trousers, and Vincent Li’s staple pleated jacket encapsulated the idyllic hues of dawn. Also reminiscing on the 60’s was designer Ancuta Sarca, whose collection boasted the bleak, still life of corporate minimalism and transcended into the bold, animated glamour of the 1960’s.
Balloon-shaped garments stood out in lots of collections, Viceta Wang’s ‘Full Moon Dress’ has a dusty-blue voluptuous skirt, Harri’s staple garment was a magnificent balloon dress with inflatable ruched shoulders, and Zifei Wang’s collection consisted of bulbous oversized sleeves. Pam Hogg, however, abolished traditional
tailoring altogether, as garments were deftly deconstructed, leaving models exposed and vulnerable representing the fragility of life in times of war.
Men wore bespoke tailored suits for the most part: Shun An Chen dressed the male models in crisp white and jet black suits, and Samuelleon captured the peppy nature of the modern gentlemen, infusing vibrant streaks of colour into the standard suit and tie. Many designers, particularly emerging talents, opted for genderless clothing, however. Flair Fashion x Beyond Horizons featured a socially conscious set of designers who focused on breaking down the barriers of gender norms, and Vincent Li dressed his male and female models the same.
HAIR
The majority of designers chose to keep the models’ hair out the way, regardless of gender, either tucking it behind ears or slicking it back with copious amounts of gel – see Agne Kuzmickaite and Ancuta Sarcuta. Zifei Wang’s team created shaggy cuts, perfectly capturing the chaos of his collection. Other more unruly and dishevelled hairstyles could be seen in the works of YunYuncollection and Vital Ao.
Geek-chic was also popular with designers, including short fringes created by Vincent Li and Chi Li, and back-combed high ponytails by Genaro Rivas.
Jen Lee teamed up with Taiwan’s top hairstylist – and husband – to create some superb, windswept hairstyles, and Chet Lo opted for a split-dye moment, with one model sporting a half-blue, half-black hairstyle – edgy, right?
BEAUTY
The smoky eye was a popular choice amongst many designers. The timely look was used by YunYuncollection, Zifei Wang, and Chi An Lee to name a few, proving the classic eyeshadow look never goes out of style.
Other designers were more playful, using vivid colours to create bold statements. Buerlangma created a dramatic full-face with vibrant eyeshadow, and Din’s eye-focused look featured vibrant pops of colour. The 90’s also made a comeback
makeup-wise: Fee Muse’s smoky eye, brown lipliner and rosy cheeks encapsulated their dynamic spirit.
Ancuta Sarca created a sultry cat-eye look from false lashes deftly placed in the corner of the eyes, as did Karina Bond with her fearless use of eyeliner.
ACCESSORIES
Headpieces had a good go at it this season. Chi Li created some hallmark headwear which took the form of larger-than-life bows and bonnets that look as though they’ve been plucked straight from the handmaid’s tale. YunYuncollection created bridal esque chiffon veils, and Shun An Chen’s headpieces were shaped like sheep horns. Din’s unorthodox headwear – equally as quirky as the outfits – consisted of hot pink crochet horns and satin bows. Most noticeable though, was Pam Hogg’s colossal millinery, which included a luggage trunk to symbolise the mental burden
of war, and a Marie-Antoinette inspired headpiece with bejewelled hanging fruit.
Pearls were a prominent feature in many collections, from Vincent Li’s pearl necklaces to Viceta Wang’s full moon dress encrusted with intricate pearl-details. Withemera ingeniously incorporated pearls in her makeup looks, using them to line models’ lash lines.
Some rather outlandish accessory choices included silicone nipple pasties created by Sinead O’Dwyer and Vital Ao’s silver punk spikes paired with skeletal gloves and white furry wings.
Footwear was widely exerimented with this season, with kitten heels making multiple appearances. Ying Ou reimagined the classic kitten heel with an avant-garde vision, using metal, rub-off leather and 3D printing.
Ancuta Sarca’s collaboration with Nike may also come to mind – her collection featured her most recent collaboration with Crocs and Clarks, reconstructed with her eclectic twist. The garments were paired with upcycled loafer silhouettes and Velcro fastenings, showcasing her commitment to sustainability.
Malone Souliers featured a mixture of elegant Maisie kitten heels and sharp
stilettos. Souliers’ bags were also a winner: their chic clutch bags were intricately carved and encrusted with silver jewels.
Karina Bond x F3rog by Rana’s collection featured handmade bags, what else to pair Bond’s sculptural, mesmerising silhouettes with? Each one was meticulously crafted to create charismatic designs paired with a kaleidoscope of colours.
MISE EN SCENE
This season’s London Fashion week took the format of a digital-physical hybrid, convenient and accessible to all.
Collections were brought to life in various, whimsical ways. Felipe Rojas Llanos told the moving story of Ariadne and her abandonment on the Island of Naxos through a graceful ballet performance, Harri’s apocalyptic latex-filled show was portrayed with the stature of French Romanticism, incorporating opera vocals and dark, techno beats, and Sinead Gorey’s runway saw models strutting down a sports hall.
