Pajamas and street signs at London Fashion Week

Paul Smith showcased paisley prints and pajamas on the London Fashion Week catwalk, while Vivienne Westwood peeked into her catalog for an all-English collection.
In a day packed with shows from established British names, Greek designer Mary Katrantzou also showed off her aging style with a line of clothing inspired by symbols from around the world, including traffic signs.
Set to the soundtrack of a mash-up of Fleetwood Mac’s greatest hits, Paul Smith’s Fall/Winter 2014 collection was a mix of printed silk dresses, pajamas and jumpsuits, soft gray suits and waistcoats. in bright blue and red cozy furs.
There were paisley prints – in black and white on a coat, in muted colors on flowing silk dresses or scarves worn with simple suits – as well as striped pajamas.
Stripes were also a feature of Westwood’s Red Label show, where pinstripes adorned skirts, dresses and trousers, matched with a clean white shirt, even more stripes or a jacket in bright red – a color that touched a bold accord throughout the collection.
The designer drew inspiration from her archives to create an offbeat take on the aristocratic English style this season, which used Harris tweed for swinging coats and skirt suits with matching hats, and black velvet for knee-cut jodhpurs .
There were sophisticated ensembles worn with pearls and pumps, but also fur-trimmed bay mini-shorts, the imagined wardrobe of a privileged and adventurous woman.
Speaking backstage before the show, Westwood highlighted the “arrogance and volume” of a fitted black tweed coat worn over a frilly shirt.
“This girl is going somewhere. She cares about the world and she wants to experience the culture of the past and the future and help save the planet,” the designer said.
Westwood is a committed climate change activist and dedicated Sunday’s show to her fight against shale gas exploitation in Britain.

Textures at Mary Katrantzou
It was a day of classic British brands, including Pringle of Scotland, Margaret Howell and Temperley London, showcasing beautiful prints in blue, one of the key colors of the season.
But the third day of London Fashion Week also saw shows from Unique, the high-end label of British chain Topshop, and one of the event’s young stars, Mary Katrantzou.
Katrantzou made a name for herself with stunning dresses adorned with trompe l’oeil prints of oversized jewels, but now in her fifth year at London Fashion Week, she’s expanding her repertoire.
Staying feminine with loose dresses and short shift dresses, the designer played with texture, layered pleats, intricate lace, appliques and brocades and shimmering chainmail that tinkled as models walked down the catwalk.
Katrantzou relied on historical and modern symbols for her embellishments, including traffic signs – a network of No U-turn signs and warning triangles were applied to flimsy lace dresses.
“I love prints, and so many people know about my work through print, but I felt this season I could branch out,” the designer said backstage, still effervescent after the show.
Creating her famous graphic prints has in the past taken up a lot of her time, but “this season it just felt right to free myself up a bit” to work on other areas, she said. .
Among the models walking in the Katrantzou fashion show were two older women, who she said reflected a “more comprehensive collection” offering a range of clothing for customers young and old.
When it comes to romantic destinations, Iceland probably ranks pretty low on most lists.
But John Rocha – one of London’s most romantic designers – said his experiences of light and the ever-changing natural wonders of the North Atlantic island nation were the inspiration behind his latest clothing collection for women, presented on Saturday the second day of the style extravaganza.
“There is a certain part of the year when everything is dark, then everything is clear. I love the transition and all the different textures there,” he said after the show.
Rocha opened her storefront with a series of all-black outfits adorned with huge puffy clouds of ruffles, both worn as sculptural hats and as collars. The collection had many of Rocha’s trademarks: oversized ruffled flowers, voluminous layers of lightweight chiffon and tulle, and lace or crochet fabrics so intricate they’re more works of art than articles. of wardrobe.
Classic reds and dark forest greens injected color, and patent leather shoes with chunky heels balanced the femininity of the fabrics.
It wasn’t all dark and dramatic. A few of the sheer black organza prom dresses were embroidered with a sprinkling of colorful 3D flowers, as if the model had just rolled around in a flower bed and the petals were stuck to her dress.
Agencies

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