Burberry Prorsum


Christopher Bailey, newly-appointed CEO at Burberry, presented a very loosened-up brand aesthetic inspired by the Bloomsbury group, an early 20th Century collective of writers, artists and philosophers. The collection had a fairly nomadic feeling in spite of it's very British influence, with combinations of lace slip dresses and thick woolen wraps and shawls, (including the finale worn by Cara Delevigne, personalised with her own monogram). The bags and shoes were also bespoke and hand-painted, and rather than just the single reinvention of the Burberry trench, there were a multitude.

Neil Moodie for Bumble and bumble tasked himself with creating 'day two' hair, using B&b Tonic and a curling iron to give loose, lived-in waves. Just before the girls hit the catwalk, some had their hair tucked into the necks of the trenchcoats. (Tucking hair in was not just reserved for Burberry - it has featured in a couple of shows in the past two seasons and more below. Stay tuned for an additional blog on this!)


Tom Ford



Tom Ford is a designer consigned to heavy scrutiny from critics and buyers alike - there are few that are the fashion world catalyst that he is. His return to the runway last February left some sneering at his audacity and others scrambling over one another to be the first with their hands on his cartoonish fur coats, both for their whimsicality and exclusivity. One year on, and Ford is presenting a somewhat more pared-back collection inspired equally by the Swinging Sixties and his native Santa Fe, NM. Cue longer silhouettes, needle-heeled cowboy boots and an array of fur, sequins and crocodile skin, plus a knock of Jay-Z's Tom Ford tribute football jersey (which cheekily has 100 times the value). So pared back, yes, but wonderfully tongue-in-cheek.

In a somewhat key look for the day, this was another show where the hair was left natural. Orlando Pita blow-dried volume into the hair, and cut soft layers in on models that didn't have them already, and that was it. No finishing products were used at all. The only way the hair was styled was - you guessed it - some tucked in to collars. This did, however, allow the hair to have it's own airy life as Ford's models bounced happily down the runway.


Christopher Kane


As seasons go by, I've noticed myself more and more excited for Christopher Kane shows, whose approach is always off-kilter and hugely creative. This time there were some things that were really cemented in Kane's usual character - playing with plastics and appliqué - and others that were more inventive and even progressive, such as the meandering half-sleeves on a couple of looks and the incredible multitunidous layers of organza that flitted like the pages of a book.

Again, Kane didn't want the hair too dressed-up or hearkening to any particular inspiration, but rather for the model t look like themselves. Guido Palau sprayed the hair with Redken Shine Flash 02 for reflectivity and tousled texture, then centre parted the hair, keeping it straight and flat and loosely tucking behind the ears. It seems London is not without a sense of synchronicity.


Peter Pilotto



Peter Pilotto and Christopher de Vos presented a loud, bright and somewhat fussy collection that didn't scrimp on structural silhouettes, geometric patterns and a wide mixture of textiles, including mesh, embroidery, fur and sheepskin. There were also a couple of prints: heavy on florals and a couple of scenic mountains, accentuated with triple belts to give a sporty, striped effect.

If that weren't enough to take in visually, the hair for this show was inspired by hemlets, snowboarding helmets to be precise. To achieve this, Anthony Turner used L’Oreal Professionnel Tecni Art Glue, applying it to all the hair close to the scalp adter tying hair into a ponytail that was left to hand naturally, (like hair hanging from the back of a helmet). The idea was for the hair not to look like hair at all, but techy and "Tron-like".


Giles



Giles Deacon maneuvered away from his explicit macabre vision towards a fresher, cleaner more progressive approach this time, with a strong palette of bright orange and blues over a solid achromatic foundation, and adorned with prints of kingfishers, thorns and stag beetles. It had allusions to the kooky, alternative angle we've come to know Giles for, but in an increasingly wearable way. My particular favourites were the oversized jumpers with matchy-matchy super-long scarves (I swear I'm going full on mental over knits next winter) and the few pieces in massive green-and-white plaid in the latter part of the show.

The hair, created by long-standing Giles Deacon partner, Sacha Mascolo-Tarbuck for TONI&GUY, was a more classic take on helmet hair, unlike the literal view at Pilotto, (synchronicity, indeed). This was achieved by straightening Label.m Sea SaltSpray into the hair, then applying nets to the head, spraying with hairspray and drying it with a diffuser. The looks ranged from very loose and wearable flat sweeps across the forehead to full on matted-down textured strands, juxtaposing the runway and wearable varieties.