With Milan Fashion Week complete and Paris almost over, the events in London already seem like a distant memory, yet they are not to be ignored. As expected, London brought its omnipresent youthful energy and sense of innovation despite the dreary drizzle that lingered above the city; Charlotte Olympia delivered cabaret girls both wearing and dancing with inflatable fruit on the runway and there was the very first of Burberry’s see-now, buy-now shows, whereby customers were able to purchase Christopher Bailey’s collection for the British label immediately after the show. There are, however, always some collections which stand out above the rest.

Versus Versace

Black, navy, khaki and a splash of bright yellow were the uniform at Versus’ SS17 show (the diffusion line of Italian fashion house Versace). Celebrating 20 years since its launch, Donatella Versace and an in-house team designed this collection with the original Versus girl in mind who, according to Donatella, is “a bad girl, a rebel. She breaks the rules”. This was emphatically conveyed in the clothes, with model of the moment Bella Hadid opening the show in little more than black hot pants, an over-sized black leather jacket and black combat boots. This carefree attitude was continued throughout the collection as thick black belts acted as bandeau tops and a considerable number of looks focused on ripped denim, constantly alluding to the rebellious nature and sex appeal which is so very much in Versace’s DNA. One of my favourite looks was an oversized khaki belted bomber jacket worn as a dress by model Lily McMenamy with matching lace up open toed khaki heels, perhaps something we may begin to see more over the course of the next season. As for the see-now, buy-now craze, Donatella simply brushed this aside, claiming she had tried this many years ago; she knows what works for her brand and has proved it time and time again.

Molly Goddard

In the Spring 2014 issue of LOVE Magazine, I remember reading an interview conducted by Lulu Kennedy with Molly Goddard who, at the time, was a still a Fashion Design student at Central Saint Martins. I was instantly intrigued by her unapologetic designs, consisting largely of bright tulle gowns worn with chunky knitwear and embroidery. Since then, Goddard has gone on to win over the hearts of the fashion industry, particularly with her most recent collection, also her first proper catwalk show. Despite the undeniably feminine foundations of Goddard’s designs, she insisted in her 2014 interview that she designs for girls “with a bit of balls”, and this certainly shows. Among the tulle and ruching were injections of neon green and pink and rainbow stripes (not for the fainthearted). Goddard’s love for gingham also shone through in dresses and skirts, staying true to her roots, creating an ethereal yet striking collection. Goddard altogether brought a burst of life to London Fashion Week that sometimes lacks elsewhere.

Simone Rocha

Having discussed Simone Rocha in my predictions of who to watch out for at London Fashion Week, I anxiously anticipated this collection to see if it lived up to expectations: and Rocha did just that. Putting a twist on her consistently charming Victorian gothic glamour, Rocha took us on a journey, beginning with all white delicate dresses, slowly adding touches of deconstructed masculine tailoring and then bringing blacks, reds and florals before ending with tranquil beiges and nudes. The majority of models wore striking leather wellington boots which, in addition to the one-arm-in, one-arm-out trench coats and bedraggled hair, gave off modern Singin’ in the Rain vibes (if only we could all look that put-together in a downpour). As an avid Simone Rocha fan from the very beginning, I naturally leaned toward the latter half of the show; I was drawn to the sheer, asymmetrical, almost child-like dresses, decorated with white, green and yellow flowers. The final look of the show, a half-dress, half-trench coat worn by elfin model Molly Bair – if elves were six feet tall – perfectly captured the essence of Rocha, delivering her unfailing dishevelled femininity which is so loved by many.

J.W. Anderson

I’ve been a fan of J.W. Anderson ever since he brought out his capsule collection in collaboration with Topshop in 2012 and my adoration has only increased. In 2013, he designed a capsule collection for Versus and was then made creative director for Spanish fashion house, Loewe, giving the brand a refreshed identity as one of the most coveted labels in the industry. His collection this season for his own namesake label, however, was something quite special in its own right. Anderson, who famously “hates” designing dresses, took a step outside of his comfort zone and applied his famously androgynous style to typically feminine pieces. What was particularly interesting about the collection was how Anderson managed to combine seemingly minimalist and modern shapes with what appeared to be medieval-inspired ones; cinched waists, round skirts, bell sleeves and a hint of corsetry were evocative of 13th century styles, yet the infusion of bright colours and asymmetry kept it modern and relevant. There is truly something for everyone in this collection and Anderson’s nonconformist approach to gender within fashion has allowed him to become one of the most unique and intriguing designers in the industry, verified by the critical acclaim of both his own label and his work at Loewe.

Christopher Kane

This year, Christopher Kane celebrated the 10th anniversary of his label, making us wonder what sort of collection he would produce to celebrate such an important milestone in his successful career. Kane, as always, did not fail to delight, dipping into his archives and recreating some of the most iconic elements of his previous collections. From referencing the neon bandage dresses of his 2006 collection to coats decorated with polaroid pictures from backstage and inside his studio, Kane quite literally brought the past into the present and reminded us why he is so universally adored. The theme of nostalgia ran through the show to its core, with the collection itself entitled ‘Make Do and Mend’ – a reference to the name of a pamphlet from the 1940s, advising women about how to dress in times of rationing, yet Kane used this idea to look back to and celebrate his own history. Despite invoking memories, Kane nonetheless chose to also look to the future, bringing the infamous Crocs back to the runway, perhaps something he sees returning as a trend *cue sarcastic memes and social media rants*. Crocs have remained the mockery of the fashion industry for many years, but like many trends, what goes around comes around (à la double denim and the 90s choker revival). In marble hues and decorated with chunky gemstones, if anyone can resurrect the Croc, it’s Christopher Kane. But whether this will take flight or not, only time can tell.

Preen by Thornton Bregazzi

Justin Thornton and Thea Bregazzi of Preen explained how their collection was inspired by their homeland of the Isle of Man, where people believed in witchcraft and Paganism was rife, demonstrated by the pentagram and pentacle symbols on many of the clothes. This mystical, spellbinding and, at times, dark collection consisted on the surface of black and white, yet the addition of pastel blues, pinks, yellows and silver created a whimsical feel. Models wore little to no makeup, save the pressed flowers stuck to the face and body with Eight Hour Cream (a longstanding handbag essential), serving to heighten the raw, magical energy, influenced by 70s subculture. Some of the best pieces included a sheer black dress strewn with white pentagram designs, a long-sleeved silver sequin midi dress with pieces of white and pink chiffon nonchalantly attached, and the penultimate look of the show featuring a raw-edged black dress embellished with pink, blue, yellow and silver beads and sequined pentagrams. For me, this was my favourite show of the entire week (sequins and leather jackets will always sit well with me); the designer duo managed to take inspiration from the past and integrate it into the present, upholding London’s position as one of the most innovative and relevant of the fashion capitals in the world.