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After viewing Roksanda Ilinic’s current collection a nursery rhyme came to mind: Mary, Mary quite contrary how does your garden grow…? Prissy, prim, pretty and oh-so proper was the general scheme and based on her previous collections this is no surprise.
The pieces were feminine and fit for a garden party at a million-dollar estate. This is quite a paradox considering that her pieces are
generally inexpensive for the fashion elite.

This season Roksanda continued to play with volume showing high-waisted trousers, massive sleeves molded into an a-line dress and sheer whimsical headdresses. Garments in soft shades of purple, pink and green satin reminded me of an Easter holiday palette.

A sleeveless tiered dress with feathers folded into the layers was memorable. A salmon coloured dress wrapped around the body, looked like a budding rose. On that note, this collection actually felt very spring as opposed to the dark and deep hibernation mood of winter. Some irony perhaps?

MARQUITA HARRIS

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I suppose I’m supposed to jump and cheer and oooh and ahhh at Nathan Jenden’s collection. Afterall he is Diane von Furstenberg’s wonder-man and who can disagree with queen DVF?

Me.

The downside of this show was the hype surrounding it. It’s like the “sophomore jinx” that stifles new musicians…You create a hit (in his case the DVF line), you garner a following (every fashion editor worth mentioning) but when time comes to deliver we expect more. Where was the pomp and panache that surrounds this talented man? Then again, sometimes when designers break free from being under the wing of another designer, the outcome is a bit more…quiet.

This is not say the collection was horrible or even just plain bad.

There was an aquamarine taffeta, strapless, dress gathered at the bottom, that was quite beautiful. I also particularly liked the styling off the antique-laced ankle socks paired with heels. Also a black dress with asymmetrical folding along the chest, with a high neck and short sleeves was a high mark (but I must add it reminded me of a certain wrap dress, do you get where I’m going?) Overall I didn’t hate the collection but I didn’t like it either. Regardless I’m sure I’ll get blacklisted for thinking as such.

MARQUITA HARRIS

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From my experience at London Fashion Week ’07, with the exception of the tent shows, space this week has been far and few between. However, Mr. Julien Macdonald is our savior providing ample enough space at the Park Lane Hilton to hold many, and that it did.

Disco balls peppered the ceiling. Every type of ‘fashionist-a’ and ‘not-a’ was eagerly waited for that first model. “Who will that first model be?” “She won’t be too supermodel-ish…this is London Fashion Week, not Paris.” However my readers I stand corrected, the first model was Naomi Campbell, and you can’t get more supermodel than that. No amount of lawsuits or PETA protesters could swing Ms. Naomi off her trademark swagger and stance as she sauntered in a black silk ‘puffy’ coat, tied at the waist, with black fur collar and black patent leather platforms.

Julien Macdonald’s collection was what to be expected from him, red carpet flavor ensembles that paraded crochet dresses, spangled sequin/beaded gowns, full and crop length trousers, satin blouses, tunics and ankle length skirts, and fur. Macdonald graced the runway with so many grand fur pieces that would of sent Janice Combs (P.Diddy’s momma) in a buying frenzy. All black ensembles with just a touch of stark white fur provided such a ‘Great Gatsby’ moment. Colors previewed were black, white, metallic hues of gold/silver/bronze, navy, and grey. At one point (the beginning of the show) there was so much black in the ensembles it blended into the catwalk giving a ‘walking head’ effect on the models coming down.

Standouts: Black satin blouse with black satin skinny pants, draped with white fur coat and accessorized with black head wrap and white/gold clutch; pewter/gold mini dress with fishmouth lapel ‘up’ and bishop sleeves, paired with opaque navy hosiery; black fur off-shoulder, bow belted tunic over sequin leggings and black head wrap; metallic bronze, one shoulder, belted and pleated ‘Fortuny’ inspired floor length gown with black shear underlay near neckline.

Keep in the closets: Black, long sweater cardigan with black satin tie blouse paired with black/green checkered crop trousers, and black head wrap. This look definitely came out of left field.

Ending with the spectacle of a confetti explosion as Mr. Macdonald accepted his applause with Naomi Campbell, a bit over-the-top, but why not? Julien provided one of the most theatrical shows of the week and ended it just as big as it started.

TENISHA ANDERSON

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I’d like to first dedicate this review to the model that took a tough tumble off the stage at Gareth Pugh. Honey, we forgive you. We also understand. Keeping that in mind, take note that Gareth does not design for the weary. Asymmetrically cut and coloured hair, black lacquered masks and starkly painted faces brought fourth a dynamic show this season. The straight-to-the point collection (fifteen pieces in all) was all black and white. But make no mistake the collection added even more colour to London’s Fashion Week.

Throughout the show Pugh played with structured shapes and textures never hitting a dull moment. However, this was not just a show of epic proportions (literally). Remove the drama. Cut the fat. And what you have left are monochromatic pieces with a touch of drama. Knitted black coats with contrasting fabrics, belted wool coats and cowl-necked dresses with ebony fringe, were eye-candy. Then of course there were all of the black –stripped plastic ponchos, another element in itself. It was quite a spectacle, joining art and commerce in wearable matrimony.

Pugh who is still relatively a rookie to the industry, has been deemed as London’s new conceptualist designer, a spot once held by the likes of Alexander McQueen and John Galliano. So in case you didn’t get the point, keep your eyes on this one…

MARQUITA HARRIS

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Remember the movie ‘The Village’ by M. Night Shyamalan? Being at Betty Jackson’s show gave me the idea that this is what those living in ‘the village’ would have worn had a little bit of the 21st century crept into their environment. Colors and prints shouted of black, grey, khaki, muted gold, brown, touches of red/orange/blue, peach tones, and various tonal browns. Ensembles characterized with mid-knee to calf length skirts accessorized with opaque orange tights, cable knit and crocheted sweaters, simple shift dresses, herringbone like tweed coats, and androgynous tailored trousers and shirts. Accessories completing certain outfits contained ‘coif’ inspired millinery, leather belts with a bit of ‘reverse obi’ inspiration, large satchels, and black leather shredded necklaces.

Standouts: Dark brown, v-neck, shoulder tie, shift dress; muted peach cable and crocheted knit sweater over peach silk, tulip hemmed skirt, with large tan satchel, and silver t-strap pumps; black ‘androgynous’ like from long coat, with orange strip lined inside, paired with black vest, white shirt, and black skinny pants, with large satchel and black hat; shirt dress in brown/yellow/black circles and white polka dot print, with bishop sleeves over a caramel color mock neck shirt, orange ‘reverse obi’ like belt, and brown ankle boots; and gold mohair-like fabric, a-line shirt dress, with ¾ length sleeves.

Keep in the closet: Sand color trousers and coat ensemble with ‘B’ print top; burnt orange top with matching ankle length skirt; and ankle-length shirt dress in black paired with opaque orange hosiery and black patent leather ankle boots.

This collection spoke of a stylish comfort. Two words that can still be used when speaking of fashion, if done properly, and Ms. Jackson couldn’t have done it better.

TENISHA ANDERSON