Day two of London Fashion Week and Nick Vinson and Pei-Ru Keh cast their eye over offerings from Paul Smith, Christopher Kane and Sinha-Stanic.
Paul Smith
Borrowing from your grandfather's wardrobe was the starting point for
Paul Smith’s women’s show held in the Royal Horticultural Hall. Smith already developed similar ideas at his men’s show in Paris, and a chunky fishermen’s sweater worn under a tuxedo jacket worked just as well there for men as it did here for women. Since it was the 1920’s when women (like Coco Chanel) started appropriating clothing from their lover’s wardrobes, Smiths show had a 20’s feel. That meant bobbed hair, dropped waists, pearls and mix of silk and velvet dresses with more mannish pants, overcoats, waistcoats and oversized knits.
Christopher Kane
After a successful spring collection, which brought neon colours back into vogue, all eyes (even Manolo Blahnik’s, who provided shoes for the show and sat in the front row) were on Christopher Kane to see what he could churn out next. The wunderkind did not disappoint, and turned out a sexually aggressive collection that channelled both the brooding ingénue and the ballsy man-eater, in black and smoldering jewel tones. Kane showed off his couture talents with consistence, working primarily in leather and dyed velvet. The focus as always, was on dresses. They came short and pert, in leather and velvet, with armour-like bodices and sharp folds of leather adorning shoulders and hems like ammunition. Other slinkier gowns glittered with Swarovski crystals and possessed the body consciousness of Kane’s previous collection, despite dropping below the knee.
Sinha-Stanic
Sinha-Stanic has come a long way since 2004 Fashion Fringe. This season, the duo has grown in sophistication, taking inspiration from the colours and textures of the Japanese decorative arts to form the basis of a neutral-toned, almost futuristic collection. Their structural concepts were the most impressive, with undulating collars and quietly developing sleeves on bolero jackets. Cocoon-shaped coats and jackets mimicked the bell-shaped silhouettes of traditional Shogun robes, while metallic embellishments done in dull bronze and gold, were thoughtfully arranged, mimicking the way gold leaf is carefully scattered when crafting Japanese lacquerware. Dresses and trousers continued to be extremely sleek and fitted, pieced together with cut panels, discreet seams and hidden fastenings, making the collection an exploration of uninterrupted line and shape.
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