From hard edges to London glamour

BIGGER, BETTER, brighter and British. That was the national sense of pride in London yesterday as Fashion Week drew to a close after an impressive number of promising winter collections proved its status as a fashion capital is secure.

This confidence and authority showed in the event itself, which has become far more professional and well organised. A busy schedule of nearly 60 catwalk shows along with a host of ancillary launches, exhibitions and presentations lured influential international buyers and press, many from Asia and the US.

The presence of Anna Wintour, powerful editor of US Vogue, at many shows gave them an added frisson and imprimatur. Locations were as varied as the collections and provided a sightseeing tour of London, from the Royal Courts of Justice and the Old Billingsgate market to the White Cube art gallery and the modern high rise Broadgate Tower.

Walking into Somerset House every day was to face a battery of bloggers, camera teams, photographers and what’s called “bloggerazzi” detaining the fashion packs from all over the world. A noticeable trend was the curious lack of clapping, particularly after many really good presentations, explained by so many in the audience videoing the finale or frantically tweeting or instagramming.

There has never been a better time to be a young designer in the UK with huge support from government and from industry, all sorts of funds and a determined effort by the British Fashion Council to get business skills on a par with the country’s celebrated design talents.

It wants to encourage home manufacturing and bring standards up to luxury level; make locally, sell globally is the mantra. Many designers are already doing so, such as Catherine Teatum who, with partner Bob Jones, launched the Teatum Jones label last year. It is made in the UK, stocked at Liberty and exported to the US.

As for winter clothes, among the trends noticeable on the catwalk were: modern interpretations of lace, which were often veiled, embellished or rubberised; the pervasive and continuing play of print and pattern; the preponderance of peplum waists; and the fearless use of fur. Skirt suits were much in evidence, often pleated, as were skinny trousers. Colours such as inky blues, black, grey and oxblood saturated the catwalks. If there was an overall look, it was hard edged, street cool, but ladylike. There were many contrast or stand alone collar details.

Print continues to dominate, however, and yesterday Mary Katrantzou, whose Topshop collaboration has been a sellout, lived up to her reputation as the queen of prints with a collection of decorative exuberance and Victorian shapeliness that introduced Lesage embroideries on printed knits for the first time. “I use my mouse as a paint box,” she says.

But it was Sarah Burton, the creative director of Alexander McQueen, who provided the standout show of the week for the company’s second line McQ. It reprised many of the familiar McQ motifs, the sharp military style tailoring, the Scottish tartans and romantic ballerina dresses, in a fresh, appealing way without excessive styling. The unveiling of a little house in a fairytale forest of real trees at the end to highlight the opening of McQ’s new London shop was a real coup de thtre and a fitting end to a memorable week.