LFW: DAY I

My first day back in London after more than a year of being away has been a concoction of crazy, in only a good way of course. The buildings are just as tall, defined and sharp to the eye as I remember, and the city is just as dirty as I remember too. But all the grime is noticed within the first few minutes and then forgotten for the 'London is a land of opportunity' that everyone screams with their too busy vibes and no-time-to-say-thank-you lifestyle.

My first show of LFW was Bora Aksu, where I spotted two new-faces on the Scottish modelling industry scene. Bora Aksu was a commotion, it almost seemed as though the brightness and buzz of soho translated into the show like I have never experienced before (not like the shows at Somerset House at least). The show began by introducing us to a selection of baby pink clothes that made me instantly think of baby clothes (perhaps not in a good way), but gradually transformed into artisanal, structured dresses that I hadn't quite experienced the like of before. Beginning with a cream, off white number that created a disjunction between boldness and delicacy in it's stand out flowering shapes, models continued to produce dresses of different colours, silhouettes and lengths all strongly projecting this disjunction in theme.

Then came Jean-Pierre Braganza - quite a contrast to the somewhat fun colour and print from Bora Aksu. Braganza cleverly used his invitation as a translation of his collection, establishing the theme to his audience. The tricolour pieces and continuous print created an extremely strong glue between his pieces and an overbearing theme. I thoroughly enjoyed the seemingly computer generated print that flowed through the collection, which made me wonder where it came from and what it was an adaption of. The bold red and stark white were a colour palette sure to succeed.

With the two 'big-time' shows over it was only right that I then headed to the very fun, very bright, presentation of Clio Peppiatt's SS16 collection. Pink isn't entirely my favourite colour, but Peppiatt did it right with her textures, short cuts and fun-loving prints. It became obvious to me that the collection was accessible in a positive and endearing manner, truly communicated by the cheeky (staged?) nature of Peppiatt's chosen presentation models.