How better to start a dreary day than with Sister by SIBLING’s exuberant take on waspy housewives? The knitwear label, which made its name with those directional new-wave pieces, turned their hand to a collection inspired by the post-New Look woman in the fifties and sixties. “We found these amazing photographs of American women from that era, hosting Tupperware parties and living in houses with white picket fences,” explains Joe Bates, one third of the label that also includes Cozette McCreery and Sid Bryan. Girls with Hollywood smiles and polished limbs wore a series of prim crochet suiting and lilac and pink gingham knits with glimpses of red, pink and violet, inspired by the colors of Tupperware plastic. Other knits were embellished entirely in pastel-hued feathers and some knits had Swarovski crystals woven in for a glimmering effect.
Holly Fulton described her woman this season as one who stops for noodles on the way to Studio 54, getting a takeaway in preparation for a wild night out. This came through in the silhouettes, which were either floating and floor-skimming or cut at the knee, and the muse for the collection was the Australian songstress of that era, Noosha Fox. The show opened with a sea of blue denim dresses featuring her signature Art Deco motif and progressed into surprisingly soft cork-embellished dresses, fit for Studio 54-worthy night on the town.
“I started on the shop floor myself,” said Geoffrey Finch, creative director of Antipodium. “I wanted the collection to celebrate the glory of retail.” And so it did — contemporary luxury clothes that will sell, sell, sell. Models paraded the shop floor set posing as bored shop girls, wearing a capsule selection of failsafe options; classic leather skirts, iridescent pleated dresses, dusty pastel suedes and girlish daisy-dotted matching vests and skirts. However, it was the standout pieces with bold color combinations and interesting zip details that will likely get the tills ringing next season.
House of Holland’s shows are always a circus. Paparazzi cram to take pictures of Henry Holland’s celeb pals, which this season included Harry Styles and Alexa Chung, even if the clothes rarely offer a new proposition for the London fashion scene or the label’s own aesthetic. This season, inspiration for the color clashes and acid rainbow prints came from “balmy Mexico City by way of the tattoo parlors of Venice beach,” as the designer put it. There was one coral striped dress with a navy lace neckline and tattoo motif that stood out.
Richard Nicoll stayed true to his clean sportswear aesthetic. The vast majority of monochrome and gray looks were punctuated with a few standout pinks and layers of ghostly chiffons were worn over camisoles and slips in diaphanous pink, while houndstooth made appearances in shimmering sequins, waffles organza and paper-fine chiffon. There was every element of the contemporary wardrobe, whether a lamé striped bomber jacket or high-waisted, structured dresses that have become his signature. Either way, it was Nicoll doing what he does best.