The first day of fashion week either goes one or two ways. Either it’s a social feature of kisses, show hopping and running in heels or you’re asking yourself, why do I do this every season?
After the onslaught of ticket reminders, planning and Excell spreadsheets, #LFW is finally here and all I want to do is go back to bed and sleep off my lack-of-zzz’s hangover.
To kick start the endless shows, Corrie Nielsen was the first eye pleaser for the new season. With highland inspirations in a otherwise modern time, the collection reeked of Nielsen’s volume and manly influences but would still be wearable for say, Oxford Circus?!(apart from the Gowns, possibly ideal for Venice masked ball?) Still, the collection was very interesting and dynamic for A/W.
From Somerset to Vauxhall, where I caught sight of Fam Ivoll’s new show that was very much kiddy monster inspired. With heavy pastels and even a kids collection, the appearance of some little darlings gave the audience a pleasing smile, making this show one to remember from the house of Scout.
Bora Aksu sadly put a damper on the day as the tent was filled to Captivity by the time I got there and many people with a seated ticket were turned away…. ‘Do you want to watch the show in the Cinema room?’ Er.. No thanks.
Thank god Maria Grachvogel renewed my beliefs and showed off her new collection of gorgeous Metallics, key prints and signature silk dresses. Maria always stays true to get vision yet still manages to give us something new. The collection was very tres chic!
Felder Felder were also on the same page and created some printed yet sexy pieces that were striking yet not too outlandish that your Nan wouldn’t like it. I think the girls are really onto something with their new collections!
Sadly after the to-ing and fro-ing of waiting and missing shows, my energy levels and excited for the whole day had hit rock bottom so I retired to my house to reflect on the ‘no Mulberry Cotton bags for bloggers’ and empty first show of the day…
I wonder, will tomorrow be better?
Photography by Kris Mitchell.