WOMEN COLLECTIONS A/W 2019.20
ondon is elevation.Lifting.Ascending. It launches itself in a spiritual, ethical journey upwards. Skyward. Towards the future. It is vertical. It seeks out and . It shuns the codes of previous seasons and strips them of all frills. It abandons the superfluous. It goes understated. The is the protagonist of the winter. It is the means of elevating materials, devoid of embellishments and far from any excess. It is , , and . It teams silence and meditation. It encourages a contemplative attitude. The dress is the cathedral of colour for Jasper Conran, who composed a collection entitled ‘The dress’. The runway became the consecrated place for bringing the dress to life: chaste, with demure necklines or a , linear, geometric. Filled with grace and measure. Fashion is a prodigy of for Pringle of Scotland. A love of the raw material, wool and yarn is woven into soft surfaces in milky white tones. Purity takes shape in enveloping, comfortable clothes with a genuine consistency. Chalayan’s winter is Pythagorean, . In black and white with and coats with . Roland Mouret shaped familiar, that have no given gender or size. Victoria Beckham offered with in the grey shades of British skies. Fashion on the London runways rises to celestial, platonic and dreamy heights. It vibrates. Waves. Evaporates. Mary Katrantzou dressed girls in . These were volatile, impalpable girls of the air. They wore the colours of the ether, shades of the sky. JW Anderson’s girls walked amongst the clouds illuminated by a benevolent light. They wore pumped-up, ethereal, airy dresses. Light ruffled around the shoulders and wrists. These were timeless women and girls suspended between the land and sky. Roksanda’s celestial apparitions wore fine organza in sweet, pale shades of vanilla, milk and honey, and amber. Angelic visions, weightless, inconsistent and light. Their clothes fluttered as they walked. They were evanescent and ethereal. The dress became a mirage. An oasis in which to take refuge. Bodies were covered up and protected from the wind. was . Simone Rocha forged coats with , virtuous , , , , , , and big . The London runways then turned conceptual, leaving room for ideas. Vivienne Westwood used it to make her appeal, to prick the conscience about . Fabrics bore phrases like “More democracy”,“We sold our soul for consumption”, “Evolution?”. The show as a crossroads of reflections. House of Holland mixed with Western ideas, unleashing the conviction that one cannot build walls around ideas. Christopher Kane’s show tackled every taboo. It lit up with , and . It focused on as a seasonal trend, raising it up to noble status.
