This season of London Fashion Week pulled out all the stops and we're highlighting the must-see moments from this season's collections.
From over-the-top tulle at Molly Goddard to pretty-and-punk vibes at House of Holland, apparently everyone is dazzling us with their bold colors, western inspired themes, and high drama statement pieces.
Wanna know which key themes, colors, designs that dominated London’s catwalks?
From the biggest trends to the most covetable collections, we've rounded up the best of autumn/winter 2019. Let's get started......
The first day of London Fashion Week showcased some creative and talented designers such as Matty Bovan, Jamie Wei Huang, 16 Arlington, and many more...
Matty Bovan first solo fashion show at London fashion week was delightful and a real moment - perhaps a moment that celebrates craft, detail and ritual.
Be it upside down, inside out, lopsided, poufed-up, or layered with crafty non sequiturs, what Matty Bovan does has cast a spell over London fashion.
Bovan’s Liberty-fabric-swathed crinolines, puffed sleeves, crocheted cobwebs, and squared-off knitwear shapes (these sometimes reminiscent of domestic loose covers or rugs) mark him out as a latter-day son of Vivienne Westwood. That’s fine—she’s a Northerner, too—and she gave Bovan a hearty personal benediction at his last show, praising his DIY craftiness, and hailing him as a new punk. The idea of witchcraft spoke to him, as it had to her, way back in the ’80s—in this case, after Bovan had been roaming Pendle Hill in Lancashire, the site of 17th-century village accusations, trials, and hangings of women, England’s own equivalent of the hysteria of the Salem witch trials.
What did he mean? Something to do with the present-day power of social media to mete out mob justice, or the violation of human rights going on apace in the modern world? Both, probably.
That’s it, about the charm of Matty Bovan, really. He makes fun out of living in dreary, divisive times, expresses the ambivalence of the British towards the state of their own country, and makes all sorts of people want to come together to join in his jolly homespun endeavor. That goes for the lady crochet expert in Yorkshire as much as it does for Liberty, Stephen Jones for the hats, and collaborations with Gina and Coach on accessories.
The up-and-coming red-carpet favorite label delivered another embellishments, glitzy, sparkly and high-drama collection.
16Arlington, which is fast becoming a red-carpet favourite, presented another glitzy, sparkly and extremely Instagram-friendly collection for autumn/winter 2019 at the brand's debut London Fashion Week show, which was inspired by German-American pop artist Richard Lindner.
Glittery dresses with cut-out detail were presented alongside feather-trimmed frocks and paired with matching hats. While there were more casual and urban designs too – including a half-and-half grey/brown leather jacket, chic tailoring and some fun collared shirts – it was the party-ready pieces that stole the show and that we cannot wait to see on the red carpet.
The first morning of London Fashion Week welcomed newcomer Asai to present his first ever on-schedule collection.
The Central Saint Martins graduate (who has experience working at The Row and Yeezy) presented a perhaps more wearable collection than he has done previously through his work with Fashion East, with a muted and wintery colour palette.
There was an oversized cosy puffer jacket, a tailored green wool coat and a balloon-sleeved dress that nipped in at the waist. But there were also statement accessories throughout, including some fun headwear and mismatched woolly legwarmers that are likely to be all over the street-style set when the new season hits.
Following on the strong start, the second day of London Fashion Week opened with Eudon Choi, followed by Alice Archer, Molly Goddard, Halpern, House of Holland, Simone Rocha, and Mary Katrantzou.
Mary Katrantzou, Simone Rocha and Halpern were all incredible.
"The Queen of Print" took inspiration from the elemental natural forces - earth, wind, fire, water for her extravagant and attention-grabbing fall collection.
The elements were the starting point for Mary Katrantzou's almost couture-like show. Models, including Natalia Vodianova, walked wearing cascades of colourful ruffles and ostrich feathers.
Fire and marble prints worked onto organza dresses, trousers and coats, and rainbow shades graduated from one to another.
Extravagant and attention-grabbing, Katrantzou's latest work will be catnip for fashion collectors who appreciate the joy in conceptualism and fashion as art.
Simone Rocha A/W collection emphasized on tapestry, embroidery and phallic shapes that are also cool and a bit tough.
Using ideas of intimacy, privacy, security and femininity as her inspiration, Simone Rocha delivered a beautiful show that played with underwear as outerwear, dazzling embellishment and embroidery.
Tailoring and dresses were manipulated into phallic shapes in a show that embodied Rocha's signature subversive femininity. Louise Bourgeois was a key influence - her fabric works were reinterpreted onto taffeta and via embroidery, while handbags took the same shape as the artist's sculptures.
The show also raised the bar in terms of diversity with models of varying ages, race and shapes.
The line-up included Chloë Sevigny, Lily Cole, Helmut Newton muse Marie Sophie Wilson, artist Conie Vallese, film-maker Clara Cullen, singer Evangeline Ling and Jeny Howorth.
Michael Halpern collection is all about unabashed glamour, reimagined embellishment and a sense of hyper-femininity with a nod to classic couture.
Michael Halpern has always said that his heavily sequinned collections are a form of escapism from an increasingly dark and murky world.
Although his latest offering was, relatively speaking, toned down, he made the same point for AW19. Decadence and ballroom glamour were pervasive - Halpern might be less sparkly, but the party is far from over.
There was absolutely no disappointment in store for fans of Molly Goddard's signature enormous and colourful tulle designs.
This season, they came in yellows, greens, pinks and purples. Some of the party-ready frocks were paired with tailored black trousers and chunky boots, which made a striking contrast.
Alongside the tulle and taffeta were also a few men's workwear smocks, which were given a feminine makeover in lilacs with bows adorned on them. Perfection.
Day three at London Fashion Week was dominated by big names, including Burberry, Victoria Beckham, Roland Mouret, Preen by Thornton Bregazzi, Peter Pilotto, Vivienne Westwood & more...
Burberry created a youthful collection for A/W 19. There was the brand's iconic tartan which has been reworked in modern, fresh ways and lots of luxe camel-colored looks.
Riccardo Tisci presented his second collection for Burberry inside The Tanks at the Tate Modern this afternoon.
The designer said on his Instagram that the collection was dedicated to "the youth of today, to them having the courage to scream for what they believe in, for them to find the beauty in expressing their voice". He also credited London for being "the city that opened [his] eyes and mind and gave [him] the freedom when [he] was young to discover who [he] truly is".
The show was split into two separate rooms, with a wildly different atmosphere in each, one focused on rules and structure and the other, on freedom.
As well as Irina Shayk and Natalia Vodianova taking to the catwalk, Gigi Hadid made her debut for the brand, stepping onto the runway in a deconstructed monochrome ensemble.
The designers delivered a decadent and glamour collection. Colors were ethereal and dreamlike, while tailored jackets and trousers leaned a touch of contemporaneity.
After the tiki extravaganza at Trader Vic’s last season, the Peter Pilotto designers decamped to the library for Fall, taking their show to the inner sanctum of the members-only Reform Club on Pall Mall.
The good times seemed to be rolling all the same, though, and the collection was primed for the twinkling lights of the disco. Iridescence was the order of the hour with metallic plissé maxi dresses and tiered fil coupe frocks with balloon sleeves.
Christopher de Vos and Peter Pilotto tend to look for print inspiration in unexpected places, and this season they found it in the holographic works of Zsolnay, the famed Hungarian ceramics brand. Colored in shades of woozy brown and pink, the resulting patterns recalled late-1970s wallpaper.
There were other references to the world of interiors, as well, including a mottled red velvet pajama-style suit replete with tassels to rival the drapes of the fancy venue.
Victoria Beckham's take on modern femininity will no doubt please her customer base, who will easily be able to slide her mix of lipstick red dresses and coats into their existing wardrobes.
Texture was also important to the designer for autumn/winter 2019 with a mix of wool and tweeds creeping onto the catwalk. Beckham also looked back to the 70s - shirts with exaggerated collars were layered under fine knit jumpers and a retro abstract print covered a roll-neck and midi-length dress. Beckham's family sat front row as a clear show of support.
The penultimate day of LFW offered a wide range of shows from designers who have been flexing their sartorial muscles such as Christopher Kane, ERDEM, JW ANderson Roksanda, David Koma...
ERDEM never fails to deliver a breathtaking collection. The fall collection is filled with elegantly festive pieces inspired by both the '60s and '80s.
It was florals, feathers, sequins and giant bows at Erdem this morning as the Canadian designer presented a collection inspired by 1960s Rome.
More specifically, the pieces were based on Princess Orietta Doria Pamphilj, who inherited one of the largest estates in Europe, but the princess returned to Rome liberated after living in 1960s London.
Therefore, the clothes are a mash up of these two cultures: "A tussle is at play between the voluminous grandeur of her Papal ancestry and the nipped-in, undone glamour that seduced her on the streets of London."
Christopher Kane adorned the collection with his signature rhinestones. Every piece was fluid and intensely shiny, within a range of naughty, sensual, and saccharine.
Christopher Kane explored obscure fetishes with his latest collection, bringing his unique take on sensual fashion to the fore front once again. The show was called 'Liquid Ladies' and celebrated the fluidity, strength and and very essence of women everywhere. T-shirts and dresses were emblazoned with the words 'Rubberist' and 'Looner', while lace, silk and latex all featured heavily in the surprisingly wearable collection.
This season, Rejina Pyo focussed on the structure of clothing, which came about partly because she was doing up her house at the time of designing and had started to think about the deconstruction and reconstruction she was seeing and how this might play into her collection.
She also referenced the past – a time when we treasured our clothing – meaning we saw vintage-inspired florals, old-fashioned silky fabrics and a glamorous faux-fur coat, but with modern touches, as she styled these up with drawstring hoodies and patent leather.
Of all the fashion weeks, London Fashion Week is undoubtedly one of the most beautiful. The venues are stunning, the designers have a talent for tailoring, yet they're not afraid to be experimental and push the boundary.
It was Athena, the goddess of wisdom and culture, and her legion of powerfully pretty nymphs, who reigned down over Shrimps’s Fall runway debut. To better conjure her siren-like muses, designer Hannah Weiland had the British artist Ryan Driscoll paint a huge neoclassical fresco. This Grecian narrative sprung to life over the summer, when Weiland had immersed herself in the feminist odysseys of author Madeline Miller and the “Mythos” audio book of English wit Stephen Fry.
Weiland’s gang of goddesses were clothed in prom dresses in polka dots and playful, mythological prints of Weiland’s own design, whose beautiful puff sleeves and fitted bodices nodded to the ’80s.
There were floaty Grecian frocks accessorized with pearly Alice bands and Heidi hair; some of the dresses were cinched at the waist with raffia sashes featuring embellished Greek wreath buckles and matching hair clips. Dramatic floor-sweeping coats and capes came in a light and feathery woollike faux fur, with twists and coils that mimicked the spools of yarn you would find in a knitting shop.
The show’s fruit-salad palette of apricot, banana, and orange gave rise to a checkerboard print that resembled Battenberg cake, which covered knits, tights, and coats. And what of the bags, whose sales have seen an enormous increase over the last few seasons?
Here, the pearly powers of her best-selling Antonia bag (named after Antonia Marsh, the Soft Opening art gallerist who introduced her to Driscoll) took on the structure of treasure chests and shells, in a nod to Amphitrite, goddess of the sea.
“Quinn has made his studio in Peckham something of a laboratory for print innovation (he’s opened up the facilities to students as well as his fashion peers), though judging by the range of couture-led shapes—buoyant puffball ball skirts and billowing trapeze coats—he’s pushing to dizzying new technical heights.
And if Marabou feathers have indeed usurped sequins as fashion’s embellishment of choice, then Quinn’s jaw-dropping feathered bridal look took that idea to its chicest conclusion.
"It was a fitting way to close the show, and also the week, which has been marked by some terrific fashion. Though the shadow of Brexit looms large over the nation’s future, young British designers like Quinn continue to flourish.” —Chioma Nnadi