University of Westminster autumn/winter 2018 collection catwalk show for LFW
The University of Westminster showcased the collections of 11 of their designers on the Fashion course on the first day of London Fashion Week, all with distinctly varying personalities, but an abundance of talent.
The young designer opened the show with the character of a deconstructed spaceman. Metallic foil, closely associated with astronauts, was used throughout on oversized trousers and hoodies that mimicked helmets. Masses of cutouts, pockets and zips were constructed on designs that, with the added touch of utilitarian green, hinted at the industrial nature of the outfits.
Suzi Lee’s collection consisted of blocks of colour removed from their square form and placed onto oversized garments such as ballooned trousers and jackets constructed from folded fabrics. Large use of orange, blue and white stripes evoked retro sports vibes despite the modern, playful silhouettes.
Patchworks on deconstructed forms formed the foundation of Chipbase’s menswear designs. The cut of each item seemed to have been tailored to be just slightly too short, creating an on edge feel. The same can said for the size of the clothes, with each item giving a relaxed feel, neither oversized or slim. With each model being crowned with a different hat, this is a collection for the alternative boy.
Movement is key in Avery’s designs, with tall, singular antennae pointing out of metal dishes featuring on the top of heads. Seemingly inspired by nature, each item was coloured fire red, desert yellow or algae green. Beaded threads provided the main source of movement as they draped down from the fabric, while a standout design used a cape appliquéd with beads to mock the foam of the ocean.
Joshua showcased contemporary interpretations of men’s tailoring through unusually placed fabrics, such as PVC and nylon. Hoods evoked a mysterious nature in the collection, that linked artfully the longline macs whose elements were oversized to the extreme, such as the shoulder panelling.
Juxtaposing against the previous designs, Audrey’s designs demanded attention. 80s disco oranges, rubies and golds beamed down the catwalk in the form of either glitter or sequins. Thigh-high silver boots – similar to those seen at Saint Lauren – teased against the flesh between the hem of mini skirts and their mirroring length. The addition of velour, fur and sparkling patchwork presented a glamorous throwback to the glory days of the 80s.
Dill-Russell’s designs were not short of drama, a collection full of floor-length gowns and coats, the dark hues emphasised moodier tones. Fabrics were ruched to padded shoulders: power dressing in the fullest sense of the word.
Featuring a colour palette taken straight out of the 70s, Priestley’s items were built upon the foundations of cropped trousers and jackets. Rainbow stripes and abstract florals were patterned across tailored shapes in mustard yellows and retro orange.
The presence of silks and tulles cascaded and deconstructed across the female form suggested an ethereal presence. Slip dresses in varying lengths and nude tones plus the delicate presence of spaghetti straps across the shoulders hinted at a sexy version of femininity.
Vibrant metallic silvers, purples and pinks created blocks of colour on Planche’s designs. Traditionally girly shapes, such as the mini dress, cropped jackets and sucked in waists were tailored into more oversized designs. Abstract images of flames disco balls suggest one thing – a party.
Carzana’s designs were big enough for not just one, but two people. The most eye-catching of all were coat hangers attached to models backs adding more jackets to their backs. Utilitarian colours suggested that everything was normal, despite the gigantic pieces, such as trousers quadruple the size that eventuated the waistband.
Photos: Kimberley Larmouth