MARY KATRANTZOU // LFW SS19

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A decade of trailblazing today was Mary Katrantzou’s SS19 show. I remember seeing her show for the first time and it gave me chills the sort that I had only gottten when I had first seen Alexander McQueen’s genius. Revisiting and reimagining her classic prints and silhouettes – perfume bottles were on tunics from AW09 and were remodelled on metal mesh tops. Stamps from SS13 which evoked a ‘collectors item’ feel with art pieces printed on dresses and embroidered butterflies all a work of genius. 

Words // Christobelle Batchelor - Fashion Director 

Photos // Bright London Morning

This was a show that appealed to my iconoclastic sensibilities, paying homage to Pugh’s friend and mentor, the late Judy Blame, one of the fashion greats and an inspiration to my own personal journey. 

‘Judy was uncompromising, ungovernable and fiercely anti-establishment. He was a creative extremist. He came up in the 80s and 90s where much of culture was moving toward the shallow and the acquisitive. Dumbed-down, debased and dissociated from its primary purpose: creative expression. Judy was a counterpoint to that.” A counterpoint that Pugh has continually sought to honour.’

We may think we have moved on from the ‘shallow and the acquisitive’, but I think in a world of fast fashion with cookie cutter and superficial approaches to creativity, Pugh just does it for the ANTI everything, which I really identify with! London is the creative hub of the boundary pushing avant-garde aesthetic and we do merge so many influences so well. This show was the perfect execution of the, ‘celebration of “outsider society’ and ‘of London as a cradle of creative extremism – a place where anything can happen.’

Another key theme for Pugh’s collection was a nod to the Divine Feminine, the nurturing and creative force which runs through all things. The subject of the ‘House Mother’, essentially a legendary figure on the ballroom scene who mentors and cares for the younger members of their house, was also referenced. 

The closing look of the collection saw a ‘heavily pregnant’ model in a maternity skirt and skintight bodysuit, alluding to the ability of us all to bring forth life, whether that be literally or through artistic expression. The Divine Feminine speaks to cycles and renewal: birth, death and rebirth. We see this both in art and fashion and the opening look of the Star is actually a print taken from Pugh’s graduate collection. 

This was a riot of print and colour and a flat out rejection of conservatism. Uncompromising, anarchic and at times fiercely confrontational, it reminds us that provocation has always been Pugh’s governing principle.

A designer who over the past thirteen years has steadfastly refused to take his place among the ranks of the establishment, preferring to view fashion not as an industry but instead as a vital cultural force, Pugh’s recent work has been subject to an increasingly ruthless commitment to stay the course, and fuck the consequences. So much deep wisdom in this collection! This sings to my soul! 

Words // Christobelle Batchelor - Fashion Director

Photos // Bright London Morning

A Neptunian landscape was created this season by Fyodor Golan, with the runway being inspired by coral covered driftwood, made of flowers and abandoned fishing nets, the perfect waterway for Poseidon’s Muses to float on down. 

For a Pisces moon such as myself, this was another chance to swim in the etheric waters of imagination, captivated by the dreamy feel that all of us have when we meet with life giving bodies of water, while also being conscious of the symbiotic relationship and responsibility we have to look after the macrocosm surrounding us. Let’s consider for instance how plastic in the oceans is one of the most significant and damaging environmental scourges; ‘Being inspired by the oceans, we couldn’t avoid the topic of plastic waste. We’ve teamed up with the charity ‘Plastic Oceans UK’, who have helped us collect abandoned fishing nets that are forming one of the largest dangers to marine life. These have been used in the set to illustrate this important issue, conveying a positive message and supporting ocean clean up and repurposing waste.’

The collection contained sporty surfer details, mixed with soft silks that are exaggerated and embroidered to create experiential environments for the wearer. We were beautifully guided us through the understanding of water as the source and a symbol of progression, with other castaway elements found on beaches, from seashells and pearls to plastic waste, influencing fabric and detailing.

We saw protective, translucent and sequinned scales sewn into fragile silhouettes applied with sustainable real pearls, celebrating their individual and raw form. Contrastingly, there were strict graphics and monster oversized flower bloom prints, creating an orgasmic and paradisiacal culmination. Colour combinations and collaged pieces were inspired by American painter, Jamie Adams, with photographs of pastel discarded waste sculptures by Thirza Schaap. 

Water as an element holds our emotions, with the cells in our body being full of water, literally soaking up our thoughts whether positive or negative. Considering this, a conscious effort to heal the water on our planet will go a long way to healing the disconnect our society has created with nature as a whole. 

Words // Christobelle Batchelor - Fashion Director

Photos // Bright London Morning

Always a love of mine is Aadnevik’s attention to detail which without fail always whisks you off into a magical world – SS19 was the topsy turvy world of Alice in Wonderland – ‘opulence, sensuality and gloom.’ Tulle was the order of the day and added to the modern day princess feel – scarlet corset dresses the size of postage stamps really evoked the moments when Alice herself changes size several times. There were asymmetric lines, cut outs, dusky pinks and vintage ivory. Models emerged into wonderland behind giant toadstools in keeping with the natural materials – feathers, metallic and lace of this mystical world. 

Words // Christobelle Batchelor - Fashion Director 

Photos // Bright London Morning 

Photos // Bright London Morning 

Long gone are the times

When Gypsies wandered around,

But I still see them.

They are like running water

Always running away.

You can only guess

What she would like to say.

Bora Aksu’s SS19 collection was incredibly emotive and visceral, effortlessly evoking the nomadic life of distinguished Romani poetess, Bronislawa Wajs, widely known as Papusza. I love the story behind the clothes and this was such an impactful take on a powerful, tragic and independent force of nature. 

Papusza grew up with her family in Poland, where she led a nomadic Roma (gypsy style) life. She was literate, which was unusual for the time, and learned to read by trading chickens in exchange for lessons with local villagers. As a woman this was frowned on, and she was beaten repeatedly in punishment.  At the age of 15, she was married to a much older man who was a harpist.  She took up singing as an outlet for her sorrow. Soon after learning to sing, she began to compose her own songs based on traditional Romani story-telling and started a band.

Papusza and her band stayed in Volynia (now Ukraine) during the Second World War and during that time, she often had to hide in the forests from the Nazis and Ukrainian extremists.

In 1949, she was noticed by the Polish poet, Ficowski, who instantly recognised her talent and published several of her poems. Although her poems made Papusza known to the world, she was also accused of revealing the secrets of her community’s culture. The Roma community also began to regard Papusza as a traitor and banished her from their midst.  She could not cope with being disowned and had a breakdown, which resulted in an eight month stay in a mental hospital. She then spent the next 34 years of her life tragically isolated and alone before her death in 1987. This is a commentary on tragic artists as a whole being all too often only appreciated after death. 

“This collection is dedicated to her”, Bora explains, “I wanted to create garments which reflect Papusza's colourful nomadic life, her melancholic and sensitive self, as well as her determination to stand against the traditional limitations of her community.”

For me the collection was the wandering feel of the Sagittarian traveler in search of adventure and freedom. We saw vibrant floral prints and cut out lace patterns, juxtaposed with the Piscean dreaminess of soft silk tulles and laces and capes in organza, representing the constant push and pull between desiring freedom and true liberation while being confined on this material plane and having to deal with the not so idealistic nature of life. Like the Piscean fish swimming both up and downstream, the energy is also connected with dissociation from reality, so Papusza’s tragic end in life can be seen through the deep dreamy blues and lilacs. 

Words // Christobelle Batchelor - Fashion Director

Photos // Bora Aksu

Taking over the Chelsea Postal Sorting Office for her SS19 show added a sense of realness sometimes lost in fashion shows – Nastasha Zinko showed the collection being worn on ‘real girls.’ Led by Winnie Harlow the models arrived on a 70s bus which felt to be the right melange of old and new. Deconstructed tracksuit bottoms, patchwork denim and corsets with logo straps were very refreshing. I just loved the neon yellow moments and pastel pinks were a stand out to me. Pondering the idea of real vs fake in fashion (a subject which spans much more than the clothes in fashion but also to people too…) this was explored through tongue in cheek ‘fufu’ logos on dresses and tracksuits. Nastasha Zinko also took a conscious approach to sustainability recycling archival materials and vintage wrangler. 

Words // Christobelle Batchelor - Fashion Director

Photos // Nastasha Zinko

Jenny Packham is what I like to refer to as a #PrinnyMoment. The brand is synonymous with regal elegance, having graced Hollywood royalty and our very own Duchess of Cambridge, but so too transporting its wearer, whether royal or not to have your own Princess Moment.

An effervescent return to London after a 17-year break and the 30th anniversary of her iconic brand, Packham’s SS19 offering was just radiant. Inspired by the 1930s starlet Jean Harlow, this was a whirlwind extravaganza of shimmering signature pieces, at the centre of which was a show-stopping grey tulle ruffled dress with doodling that reminded me of how we all transmit our personal frequency through our clothing, as well as a ‘Harlow’ rose-print gown, which was a beautiful meeting of the Hollywood glamour of bygone years mixed in with millennial opulence. This collection was just a masterclass in how to do glamour with true elegance. 

Words // Christobelle Batchelor - Fashion Director

Photos // Jenny Packham

YASSSSSS! Nicola Formichetti’s SS19 offered us noughties disco balls and then some! With ‘Anarchy’ printed on jumpsuits styled with cowboy hats evoking the iconic Madonna look from the same era. Chunky hoodies and checkerboard patterned wind breakers with pink tulle trim of, ‘R.I.P Disco.’ Nicopanda marries so well the cool kid looks with vintage in a reimagined way.  Closing the show were six disco ballers in miniskirts and t-shirts with bold illustrations, ‘don’t be a drag ... just be a Queen’ à la Gaga this was a nostalgic look at all the best bits of the noughties rolled into one.

Words // Christobelle Batchelor - Fashion Director 

Photos // Nicopanda

‘Build a good name. Keep your name clean. Don’t make compromises, don’t worry about making a bunch of money or being successful. Be concerned about doing good work. Protect your work and if you build a good name, eventually that name will be its own currency’, Patti Smith. 

A topic hotly debated in the Fated & Fabled office… in an industry that moves so fast and feels overwhelming at times with constant pressure to keep up and produce… here we prefer not to force creativity and have the process to be organic as possible, a sentiment which Richard Malone effortlessly referenced for this season. The notion of the ‘unseen’ – this defiance and single mindedness pushes him towards the poetic and the mythic, an ethereal world we are very at home in. There were lucid moments, new suiting jackets and colour pallets inspired by micro fibre cloths marrying the direct and indirect. This was a celebration of women; fearless creatives and working class champions. Ruched moments and tassels added a freshness to the looks.

Words // Christobelle Batchelor - Fashion Director 

Photos // Richard Malone

Markus Lupfer is a girlie-girls’ daydream, a collection that truly is Sweet Like Candy! Taking influence from Memphis, the 80s design group founded by Italian Designer Ettore Sottsass, adds to the playful aesthetic that Lupfer does so well. 

The set featured a beautiful beachside slice of summer, while we were treated to light pinks, baby blues and shimmering moments, with the models wearing light tulle pieces around their heads, and all adding to the dreamy feel. We also had some printed moments, adding a little bit of toughness but still in a beautifully elegant way. 

Sometimes you just need matchy-matchy heels and a sweet colour palette, especially as we head into the darker half of the year!

Words // Christobelle Batchelor - Fashion Director 

Photos //  Markus Lupfer

Roberta Einer is a woman after my own heart! She really gets layering and juxtaposition with tons of glamour, and she manages to pull it off so effortlessly. In a world where fashion can be a little guilty of trying too hard, this is the refresher we all need. 

There were apron skirts, sequins galore, deconstructed shirtdresses, clashing prints and neo-glam ruched moments. Inspired by her eclectic background, having been brought up in Estonia, with an adoration of 70s Moroccan culture mixed in with a little bit of London cool. This collection was a true delight, comprising of cocktail dresses which could easily be worn in the day or night, glam PJ moments and hoodies. This was uptown chic meets downtown cool and I cannot wait to wear it!

Words // Christobelle Batchelor - Fashion Director 

Photos //  Roberta Einer

This season Tata Naka took inspiration from Roman and Greek statues, which permeate our collective consciousness regarding the ideal human body. These beliefs run through our ideas of beauty, art and femininity on a subconscious level, rather like the Roman Empire refashioning itself under the Vatican, which is something that never really left us.  Not only this, but the Ancient Empires aesthetic was echoed through pleating, traditionally worn by warriors, while tunics and draping togas added ornate and divine feminine twist to what would have been masculine clothing.

A favourite moment for me was the Gorgon, with the Medusa print on the clothing being traditionally symbolic of the dark and repressed feminine. But I like to see Medusa not as a monster but as a symbol of how oppression of the divine feminine has so been twisted in history and even up to this day. Despite being raped by Poseidon, as a punishment for this, Athena cursed her with snakes for hair, which, if any mortal man would look at, would turn him to stone. This is just an allegory of how the powerful feminine energy – a sheer force of creation which has been so feared and blamed for the effect which this produces in carnal lower vibrational masculine energy – can lead to fear mongering. The snakes of course are a symbol of temptation but ultimately a symbol of sexual energy and healing of the chakras through kundalini energy, which when raised with spinal fluid, can lead to true liberation. We also spied some symbolism of the griffin, which are the four fixed signs of the Zodiac, forming a cross and reminding us to not become too fixated on our programming.

Words // Christobelle Batchelor - Fashion Director 

Photos // Tata Naka 

This season Fashion East didn’t disappoint with their incredibly talented designers, showcasing SS19 collections from Charlotte Knowles, Yuhan Wang and ASIA. 

Charlotte Knowles and partner Alexandre Arsenault opened the show with their compelling SS19 collection, inspired by futuristic science-fiction films and heightened with sentimental seaside summers. The ready-to-wear collection is focussed on the active empowering woman, showcasing dresses, lycra shorts, jackets and tied halter neck swimwear pieces layered with flared low-raise denim jeans. The collection homed in on the British summer, with patterns of, feminine blossoms, gingham, tartan, and a recurrent distorted sea lion fish print. This was a vibrant collection, with pieces reminding me of the 90s and early 2000s style.  

Words // Ellie Mose - Senior Fashion Assistant 

Photos // Chris Yates

Tomboyish details juxtaposed with soft feminine contemporary clothes for Malene Oddershede Bach SS19 were inspired by nature’s magnificence and its tenacious ability to always find a way to grow and reproduce, despite man made obstructions. Icelandic poppies inspired the fabrics, which evoked the wild flowers ability to endure the toughest conditions, while remaining fragile yet elegant. The set carried on the theme of nature’s magnificence with beautiful flowers reminding us of the seasonal nature of our lives, and how walking in tune with nature’s rhythm, we can guarantee the seeds we plant will all blossom in their own time!

Words // Christobelle Batchelor - Fashion Director

Photos // Malene Oddershede Bach