London Fashion Week Day 3

Mulberry's appointment of creative director Johnny Coca late 2014 was expected to be a turning point for the British accessories company, which suffered a downturn since upping prices of its bags. Financials aside, the new bag to stimulate consumers next season is the Roxette, which came in a curly sheepskin version and croc printed calf hair. While the brand took a hiatus from the catwalk this season, it instead held a presentation at its showroom. The clothes for AW15 were inspired by the world of Georgian interiors, known for their Rococo and neo-classical design elements. Mulberry commissioned British artist Tom Price to create an installation based on the theme and inspiration. The resulting five largescale arches with their overspilling ‘blossom’ formed a dramatic backdrop to the showroom.

Margaret Howell always favours earthy tones and natural fabrics like wool, cotton, shearling and leather, so expectedly these were the staple fibres of her collection. Fashion came in the form of knee length tailored shorts that were thickly cuffed, turtle necks and white shirts were layered beneath cable knits and tapered trousers hung loose, tightened at the waist with skinny belts. Models wore headbands with paisley scarves fastened behind necks, which added a 60s vibe.

Vivienne Westwood, after dedicating the AW15 menswear show to Prince Charles’ green and charitable endeavours, Westwood used her Red Label platform to urge everyone to ‘Vote Green’, splashed across her show note manifesto in bold, red letters. Here, she talked about how her girl is an art lover who thinks culture is very, very important: “If we had true culture we would not be in the situation we’re in. Culture has been replaced by consumption – which is quite a different thing,” Westwood wrote, continuing: “At the moment we are controlled by the 1 percent of the world population who are in power. They preach consumption, and they preach war, and they’re taking us into disaster. We are in incredible danger. There is no point in voting for the others. She [Westwood’s girl] is going to vote Green.”

The 60s and 70s theme continued at Topshop, which said the English countryside and the extravagance of a gilded cocktail hour served as references. Tate Britain was the backdrop for its autumn winter 15 setting, which saw sexed-up kilts, Aran knits and fake fur-lined duffel coats, reminiscent of a girl's boarding school outfit.

Mary Katrantzou sent models down the runway made of pink sponge packing material. What proved to be visually intriguing was a provocative mix; a bath mat bodice attached to a leather skirt embossed with swirling 19th-century paisley, or a molded tank top and a gray knit hobble skirt, all teamed with velvet May-Jane heals. Elsewhere there was plastic and fur, brocade and rubber. The trick, however, was that the brocade and print never felt heavy. This was a modern Belle Époque, with 3/4 sleeve cropped sweaters in citrus tones and beaded damask dress, some of these piece were nearing couture.

Jonathan Saunders showed himself to be a master of print and colour. There wasn't a single look without a pop of brightness or print. Dresses with bracelet sleeves and high-funnel necklines had a prim restraint, which was twisted with lace-up, over-the-knee kinky boots. Clashing prints had a sixties vibe. Saunders had been inspired by the artists which he referenced at the beginning of his career: the pop art of Allen Jones and Bridget Reily.

Images: London Fashion Week AW15