With Vivienne Westwood and Craig Green dual of a biggest names on Monday’s schedule, a final day of London conform week men’s was guaranteed to be a jubilee of unobstructed British creativity.
A standard Vivienne Westwood uncover is reactive and mostly during contingency with a rest of a conform week, and this collection was no different. First of all, there was no show. Instead viewers watched a two-minute and 45-second film shot mostly during night or backstage starring impression models, Westwood, an EU dwindle and some sandbags.
Second, a thesis was war. Any war, really, only “don’t get killed”, that was a summary a models steady with a same appetite that Westwood channels into her eco-activism.
As is mostly a box with a 76-year-old designer, if we demeanour over a slogans there are some pleasing clothes. This collection pairs troops story with hardness and focuses some-more on colour than uniform. Westwood’s famous princess coat was unisex this time round, in hulk deception print, tweed and undyed wool.
Belted coats and lax trousers were in normal army red Melton felt with tender edges, while two-piece suits and draped gowns were embellished Mountbatten pink, a colour introduced by Lord Mountbatten during a second universe war. Typically, there was also lots of tartan, enterprising twists on deception and cartoonish corseting. Westwood promotes unisex styling, yet her logic is also on a sourroundings – share garments with a boys – rather than being only post-gender.
Models with embellished faces and in wigs with razor blade earrings and impracticable blusher were a reversion to Leigh Bowery and Taboo. Their demeanour resonated with some of a some-more talked about shows from a weekend, such as Charles Jeffrey and Rottingdean Bazaar, that gave identical courtesy to fun, punchy colour, enigmatic styling and uncanny accoutrements.
Westwood talked about war, assent flags, personification cards and a fight. “You all know what I’m adult to – we use conform as a car for activism to stop meridian change and mass annihilation of life on Earth,” she said.
Earlier in a day, London-born Craig Green took over a dim gymnasium in Vauxhall by a London Fire Brigade Museum for his autumn/winter show. A connoisseur of Central Saint Martins, he launched his tag in 2012 to present acclaim.
Green has been crowned British menswear engineer of a year for a past dual years and his designs are desired by conform critics, buyers and most of Hollywood. He was consecrated by a film-maker Ridley Scott to pattern costumes for Alien: Covenant in 2015, and his creations have been ragged by Rihanna, Jay Z and Drake.
The hum surrounding this collection was palpable. With MI6 domicile appearing ominously circuitously and a heavily structured jackets featured in a collection, Green’s collection conjured an atmosphere of subterfuge. However, he suggested backstage that he had in fact been desirous by childhood imagination: “You know how when you’re younger and we don’t know anything?.”
The charming patchwork robes were designed to demeanour like “human tents”, packet immature constructional pieces like jet-skis, and hulk mask-like “shields” same to “horrid aged clocks we find in your grandma’s house”.
“As a child we consider about a future, when we consider we can fly,” Green said. As for a latex? “Because it was shiny”. Suddenly a models seemed to resemble Buzz Lightyear – and Green, a child who had run amok in a haberdashery.
His adore of uniform and early ambitions of being a sculptor are clear in his work and supplement to his artistic spark. When he describes hand-stitching “three colours of nylon organza on to 3 colours cotton” for a bottom of a coats, or “hanging tennis balls to a finish of focussed willow to give a constructional pieces a kinetic motion”, we know we are traffic with an strange mind. If a demon is in a detail, afterwards Green is a male possessed.