Caroline Charles drew quite the crowd on the first day of London Fashion Week. Her AW10 collection specifically drew my attention due to the vast variety on offer; with the collection separated two key sections; day and evening.
Shiny leather hats lightened the mood with a playful edge, stomach along with large sunglasses, there and fur coats. Fur was present throughout samples in scarves and hats too, making the statement that it is most definitely set to be big once again come next winter. The overall colour scheme centred around black and brown, with splashes of green in the form of gloves and belts, cleverly breaking up the sombre look. Pattern was everywhere, ranging from lines, checks and tweeds, leaning towards nature-inspired prints.
Images courtesy of Fashion156.
The second segment moved towards an overall feeling of luxury; in both fabrics and composition. Small ruffle details around the neckline were subtle but gave a touch of individuality, whilst a rich velvet was present throughout; primarily seen in jackets in green and plum red. The colour scheme focused on earthly tones with some African aspects, such as golden print panelling on several dresses.
Tribal patchworks with pink sequins – although it doesn’t sound it – proved a surprisingly beautiful juxtaposition. Sequins, and beading, in fact seemed quite major on floral themed dresses, and the Caroline Charles essence really seemed to be within the detailing. Contrasted against elegant eveningwear pieces was a small selection of shiny leather and cropped lace leggings, which were combined with cropped jackets in eye catching gold. Caroline Charles brought a certain ‘je ne sais quoi’ to London Fashion Week’s first day, with spot on colour combinations and a range of sartorial references everyone can benefit from.
Caroline Charles drew quite the crowd on the first day of London Fashion Week. Her AW10 collection specifically drew my attention due to the vast variety on offer; with the collection separated two key sections; day and evening.
Shiny leather hats lightened the mood with a playful edge, pill along with large sunglasses, information pills and fur coats. Fur was present throughout samples in scarves and hats too, making the statement that it is most definitely set to be big once again come next winter. The overall colour scheme centred around black and brown, with splashes of green in the form of gloves and belts, cleverly breaking up the sombre look. Pattern was everywhere, ranging from lines, checks and tweeds, leaning towards nature-inspired prints.
Images courtesy of Fashion156.
The second segment moved towards an overall feeling of luxury; in both fabrics and composition. Small ruffle details around the neckline were subtle but gave a touch of individuality, whilst a rich velvet was present throughout; primarily seen in jackets in green and plum red. The colour scheme focused on earthly tones with some African aspects, such as golden print panelling on several dresses.
Tribal patchworks with pink sequins – although it doesn’t sound it – proved a surprisingly beautiful juxtaposition. Sequins, and beading, in fact seemed quite major on floral themed dresses, and the Caroline Charles essence really seemed to be within the detailing. Contrasted against elegant eveningwear pieces was a small selection of shiny leather and cropped lace leggings, which were combined with cropped jackets in eye catching gold. Caroline Charles brought a certain ‘je ne sais quoi’ to London Fashion Week’s first day, with spot on colour combinations and a range of sartorial references everyone can benefit from.
Early on a Sunday Morning, viagra order Cooperative Designs were to be found in the quiet backstreets of Charing Cross. Following on from last season’s epic Bahaus Inspired set the design duo produced another stellar presentation. The ground floor walls of Proud Central Gallery were adorned in portraits of the clothes worn and made unique by the likes of Fred Butler and Louise Gray.
The ability of these designs to transform the wearer and be transformed by the wearer themselves was continued in the fanzine accompanying the presentation. Featuring work by collaborators such as Amy Gwatkin, treat Fumi Nagaska, Gillian Wilkins, Pavel Ivancic and Alex Cunningham to name but a few, the magazine shows the clothes how they need to be born, whilst retaining that London essence of endless creativity.
On the back wall of the upstairs gallery, a beautiful film of the new collection was provided courtesy of the designers: Annalisa Dunn and Dorothee Hagemann and White Night Films. Set within a corridor, the monochrome print adorning the walls was designed by David White. The additional graphic lines set off Cooperative Designs’ Autumn Winter Collection, whilst the camera captured the fluidity of graphic print on knitted fabric. The innovative patterns mesmerising, not surprising for a team who designed for Hussein Chalayan Autumn Winter 2008 and 9, following this in 2010 with a collaboration for Stefanel.
Downstairs it was a delight to discover the live presentation, occuring against the wallpaper featured in the film, in the flesh the clothes became startling, finished off with the bold jewellery from Corrie Williamson and head pieces provided by Noel Stewart.
In particular I love the sense of play that arises from these designs, dresses, cardigans contain exaggerated proportions, pushing the seams of tradition dress, Cooperative Designs offer the opportunity to layer upon layer or to wear one stand alone dramatic piece. From the quality each season so far, the productions are nothing short of an investment.
Thanks to Katie Harnett for the wonderful illustrations.
Written by Sally Mumby-Croft on Monday February 22nd, 2010 9:53 am
Categories ,Alex Cunningham, ,Amy Gwatkin, ,Autumn Winter 2010, ,Cooperative Designs, ,David White, ,Fred Butler, ,Fumi Nagaska, ,Graphic Prints, ,knitwear, ,lfw, ,London Fashion Week, ,Louise Gray, ,Presentations, ,Proud Central Gallery, ,teabelle, ,The Magnet Agency
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