On September 15th, the fourth day of London Fashion Week, each brand presented their Spring/Summer 2015 women's collections. Some designers spend their show press releases delving into inspirations, shapes, and materials; others jot down phrases that symbolize the season; and still others say nothing at all. Erdem is the quiet type, and until now, they've rarely distributed anything more than staff credits at their shows. This season, however, Erdem distributed a booklet featuring three photographs: a side view and a plan of a massive greenhouse, likely from the late 19th century, and a 19th-century garden with people and the greenhouse itself. These three photographs and one architectural drawing eloquently describe Erdem's collection this season. The collection borrows Victorian silhouettes from the enormous greenhouses built around the country following the 1851 Great Exhibition and the exotic, vibrant tropical plants that abound there. The collection, which makes extensive use of deep greens and blues and lavishly uses embroidery and lace to create a three-dimensional effect, exudes a dark, melancholic atmosphere, thanks in part to the almost complete absence of red. The dresses worn by women strolling through a greenhouse feature white cotton lace, sheer yellow lace, and a full skirt with a white background and three-dimensional embroidery in white thread, creating a contrast with the tropical plants.
Erdem SS15 Collection
PETER PILOTTO also presented a collection that lavishly used embroidery and lace, featuring leaf motifs and three-dimensional floral motifs, but also incorporated acrylic panels and metallic materials to create a cyber-inspired feel. The organic curves of florals and paisleys contrast with geometric patterns of circles and rectangles. This collection eliminates prints and instead features patterns in jacquard, embroidery, and patchwork.
Peter Pilotto SS15 Collection
Yugoslavian designer Roksanda Ilincić, formerly known as Roksanda, also featured acrylic decorative elements on top of patterns. Geometric patterns reminiscent of stars and arrows are adorned with unevenly colored acrylic circular and spherical elements. Solid-colored pieces feature large circles of different colors scattered across vibrant bases of pink, blue, and orange, sometimes even cut and layered. The collection created a delicate balance by using vibrant colors together within a single garment, sometimes with oversized ruffles fluttering from the sides and shoulders of dresses.
Roksanda 15SS Collection
Christopher Kane dedicated his collection to Louise Wilson, a renowned professor at Central Saint Martins College of Art and Design who passed away in May of this year. Wilson was the course director of Central Saint Martins' MA Fashion course and is known for nurturing many designers, including Alexander McQueen. Kane, of course, was one of her students. Starting with memories of his days as an MA student at Central Saint Martins College of Art and Design, Kane traced his own history. A satin bodycon dress, a luxurious refinement of the bodycon style from his sensational graduate collection, features strings of satin that resemble corset bones over sheer silk. Knitted pieces made from satin rope were inspired by photographer Nobuyoshi Araki, a longtime favorite of Kane.
Christopher Kane 15 Spring/Summer Collection
A denim jacket with a tight waist and feathered hips, paired with a knee-length yellow skirt, seems to capture the silhouette of a bee, an essential element of an English garden in spring. This season, Burberry Prorsum's theme was "The Birds & the Bees," evoking the springtime atmosphere of an English garden with a soft color palette and tightly cinched waists. The soft tones of green, yellow, and blue, along with pink and purple, also echo the colors of a spring garden. Feathers, large round sequins, and circularly cut fabrics overlapped like petals, creating randomly tiered skirts that fluttered in the breeze. Flowers also appeared as abstract prints, and the waist-cinching belt, the Dragonfly Belt, featured layered tulle to resemble dragonfly wings. The 1940s typography featured in the men's collection appeared on clutch bags and trench coats, showing a continuation from the men's collection. Giles presented a fun and slightly scary collection, boldly featuring leopards and giant snakes on classic silhouettes. Instead of the typical leopard print that imitates the pattern of leopard fur, the design uses the leopard's face and hands as motifs. A classy schoolgirl-style puff-sleeved blouse has a large leopard's hand on the back, and a pure white cape-style dress also has leopard hands on the shoulders. A gorgeous long dress is decorated all over with a large snake print.
