Text: Izzy Copestake
Jonathan Anderson may be skipping this year’s LFW, but Irish designers are still doing the heavy lifting.
In 1990, Caravaggio’s ‘The Taking of Christ’ was rediscovered hanging in the dining room of a Jesuit community house in Dublin. At the time, this seemed so improbable that priests disregarded it as fake. The painting, which now hangs in the National Gallery of Ireland, inspired Rocha’s return to The Old Bailey, London’s historic criminal courthouse. Perhaps the most clear point of inspiration is the colours, red, black and blue all run through the designs which floated down the runway.
This show also drew on the painting in the most Simone Rocha way possible: the tension between the expected and the unexpected. The story of the painting invites the onlooker to think twice, and look closer. The collection demonstrates that the that the romance is revealed in the details, from the silky dresses under a heavy coat to the delicate florals next to knitted jumpers.
This was, undeniably, the most talked about show of the season. Alexander McQueen has not staged a show in London for over 25 years. For this monumental homecoming, Irish designer Seán McGirr tapped into the house’s rich history to deliver a show that felt distinctly McQueen: both gritty and in line with sacred iconography.
The references couldn’t paint this more plainly. The first reference image was a Piero della Francesca’s painting of Christ’s baptism, the second reference was an image of London’s ravers at dawn. The collection featured the angelic imagery synonymous with McQueen alongside materials reminiscent of a sweaty club, leather chokers and shimmery tops paired with dusty toned smokey eyeshadow.
A Banshee of Savill Row runway is where the precision of bespoke suit tailoring meets the fashion world. This year, the first bespoke women’s tailor on Savile Row to show at London Fashion Week (in 2022), brought the magic to a London pub. Elegant yet bold silhouettes took their time to float around the pub and showcase the masterclass in tailoring.
This was William Costelloe’s second collection since following in his father’s footsteps, and the difference in the two designers is beginning to show. William is incorporating much less pattern, but focussing more on structured silhouettes. The final looks referenced the brand’s Irish heritage by using Ferguson’s Irish Linen and Magee.
How could she not have a mention.
(image: Dave Bennett)