For all the buzz: It was London Fashion Week. But who did actually attend?
Checking the international news, it was – in comparison to other years – relatively quiet. And with exception of a few top notch names (e.g. Victoria Beckham) even the VIP section remained unusually low key. It feels as if the British austerity programme has finally gotten a good grip on British Fashion, too. And as far as labels and designers from outside the UK are concerned, while the February edition tends to be quieter than the September one, there is little doubt that Europe’s economic woes have had a knock on effect on LFW attendance. For a proof: This season’s LFW EstEthica was tiny in comparison to previous years, and also the ‘mainstream’ designer exhibition section was only about 1/3 of its previous size.
Going around the designers’ exhibition, as well as checking out off-location (ethical) events (Good Fashion Show, EcoLuxe) is in many ways a sobering experience: The gems in between the white noise seem to get fewer and further apart. Which on the one hand is the result of more ‘noise’ being created, of course, but the number of ‘gems’ is decreasing, too.
Of course, rightly the question arises: What is the definition of ‘gems‘ in this given context?
The answer is, surprisingly, straight forward: it is a balanced mix of skilled craftsmanship, product quality in every detail, a knowledge of materials used that results in a stunning attention to detail, impeccable and lasting design and – certainly not least – a keen awareness of practical as well as emotional consumer needs.
As far as craftsmanship and quality detail is concerned, it is overall rather shocking to see how involuntarily imperfect many of the designs and products show cased are. ‘Made in Britain’ – or any other Western country for that matter – may cherish the image of a high quality product due to the cost price it implies, but the image is shockingly unaligned with reality. The quality produced does not generally justify the price tag attached.
But possibly the saddest of all aspects is the fact that most brands and designers spend very little thought about the needs of their target consumers, both, emotionally as well as practically. To explain, maybe consider the following two simple questions:
– How many evening dresses, suitable for a red carpet event, can one possess?
– And in contrast: How many garments suitable for a highly important and representative business meeting do we have use for?
Both types, in fact, boast a similar price tag in the case of quality products, the issue is therefore not so much about price per piece, and hence the financial bottom line of a brand, but about a reputation of being ‘in’.
Potentially one of the reasons why the (luxury) accessories industry is withstanding the currently critical consumer climate (read: spending cuts) better than the garment section – accessories, notably bags, had to deal with the quality, usability and craftsmanship issues many decades ago to keep their clients entertained, intrigued and coming back as repeat customers.
This all said – with a little bit of effort, there indeed do exist those gems this discussion is all about. Some of them have been around for a while, others are just starting off, but there is no doubt that they do make an intriguing, lasting impression on the onlooker.
Gracia Women is the only ‘new kid on the block’ our list. The label focuses for the completely under-catered niche of semi-formal wear for professional women. While purposely exhibiting an ‘understatement’ design, the collection is highly crafted in every single detail: Scottish Tweed, organic and Fairtrade cotton, Sabra cactus silks, and hand crafted Japanese buttons talk of the designer’s eye for detail and craftsmanship. The cuts are female, and yet will suit elegantly any shape between a size 6 and a size 18. In contrast to other brands also trousers, not only skirts, are part of the collection, which gives it an overall rounded impression.
Charini: The designer’s experience and eye for quality is undoubtable. Made from hand-loomed and produced from start to finish in Sri Lanka, the elegant, delicate but not overbearing lingerie designs speak for themselves.
ArLi from Kazakhstan has managed to walk the thin red line between fibre craft and fashion design. Using the techniques of the former, her designs are dynamic, young, intriguing and yet wearable. Particularly interesting where the accomplishment with which the designer managed to combine plain fabrics with hand felted designs, and in this way achieved at signature texture and look.
Aiste Nesterovaite finally, proves that upcycling can be classy, versatile and not focused on a single category of accessories. Her geometric scarf collection, innovative and a bit daring in concept but classy in realisation keeps evolving and attractive even it its second, third or fourth incarnation. The scarves have most recently been complemented by 2 series of bags made from either upcycled leather or polyester strips, which once again proved the designer ingenuity and ability in creating ‘a lot, from very little’.
Particularly in jewellery ‘the special’ something is of importance. And the reality is that while jewellery designers abound, only a selected view offer this experience, combining a compelling story with an equally compelling design.
Among these are: Arabel Lebrusan who capitalises on the filigree history of her native Spain, Fairtrade gold, recycled silver and fully traceable precious stones; Kokku who draws our attention to a different, but equally beautiful species of Sardinian filigree, and their collaboration with local craftsmen (they do however still gain ground with regards to the sourcing of the raw materials); and Candescent who has its very own signature design combining FSC certified Tanzanian wood with fully traceable rubies and white emeralds, Fairtrade gold and recycled silver achieving an aesthetic that is both striking and very unique.
Note, however: The list is not exhaustive, and jewellers such as Ute Decker or CRED certainly would need to be listed as well, if it not were for their mere absence from this season’s presentations.
