LONDON SAYS IT LOUD

Forget the chaotic climate – clothing was confident and unapologetic in the capital last week, says Rebecca Lowthorpe

IN THESE UNCERTAIN times, what with the chaos that is Brexit, politics in freefall and businesses not knowing whether they’re coming or going, you might imagine that fashion designers would play it safe, with nice, polite collections full of deeply wearable, if slightly dull, clothes. Well, you’d be wrong. Last week, designers came out fighting, in a way that was startling even by London standards. Whether it was the fashion equivalent of a big ‘F*** You’ to the political powers who hold the key to the future of their businesses, a reflection of our tumultuous times, or simply designers striding off in a new direction, their sense of rebellion was palpable.

The upshot for you is that these collections will change the way you dress. Forget athleisure. Forget hoodies and trainers. Forget predictable little black dresses for going out-out. This London season, the major themes – colour, sparkle, feathers and oh-so-upscale tailoring all lead to one thing: The New Elegance – that overused but underrated word which,

in this case, doesn’t have to mean uptight, boring, stiff or old-fashioned. Instead, think joyful, fun and fabulous.

The first elegant punch was thrown by Victoria Beckham, who talked about her collection as the A-Z of a woman’s life: ‘I would say that she’s a lady, but she’s not always ladylike. I think she’s got a bit of a naughty side to her.’ The naughtiness translated in her most body-con collection for years – but all of it smart (slim checked jackets and high-waist trousers), sophisticated (wiggle skirts, silk scarf prints) and by now relatable (those punchy colour combinations – scarlet, violet, periwinkle and pink – that she herself has been showing us how to wear when out and about for the last year). ‘I don’t have a favourite look, honestly, I’ll be wearing everything,’ she said. No doubt this will include the collection’s kinky skin-tight, peep-toe leopard-print boots.

Elegance came in many forms. Including every single model at JW Anderson’s show, whose prong heels sunk into a deep white cloud of a carpet. ‘I want to take the noise out and focus on clothing that is elegant and elevated,’ said the designer who, quite literally, raised his game with the most heavenly coats, knits and trousers of the week. His dramatic proportions had a whiff of couture about them but without the decorative fuss (apart from the instantly wantable thick gold chain chokers and bags, of course). All was clean and simple, wearable and cool. He wasn’t the only one talking about real-world elegance. Roksanda Ilincic perfected her art gallerist’s wardrobe with a sublime beige

jumpsuit and colourful duvet-like wraps. Natasa Cagalj, the tailoring supremo in charge of Ports 1961, scissored blazers, Crombie coats and slouchy trouser suits out of multiple-sized checks. This is a label you need to know if you ever loved Phoebe Philo’s Céline. Then came Burberry’s Riccardo Tisci, once again splitting his collection in two – on the one hand, youth-cool (mega-puffer coats, sweatpants, rubber boots and deconstructed checks) and on the other, an update on the hautebourgeois looks he debuted with last season. Perhaps we should give Riccardo more credit for the current uprising of uber-elegance? His chic beige brigade – which included a trench coat trimmed with gold rings and a camel pea coat whose back was a giant fluttering scarf – now chime with the moment and look more believable and relevant than ever.

But if that money-no-object kind of elegance doesn’t appeal, and if gracefulness in a more romantic form makes your heart sing, see Simone Rocha’s exquisite lace, organza and tulle, whipped into fullskirted trench coats topped with siren-red satin bodices. As demonstrated by her all-woman casting of Chloë Sevigny, Lily Cole and mature models like Jeny Howorth, Simone’s clothes look beautiful on any body, and any age.

What of the pieces that this new elegance gave rise to? Meet the megagown. The big glorious going-out dress was a key look in most collections: all over the Erdem runway, of course, where effortful dressing ( in a good way) came into its own. His latest heroine, the Principessa Orietta Doria Pamphilj, lived in a 1000-room palace – you get the picture? Here, he envisioned her in net veils, acres of taffeta,

chiffon ruffles, sweeping trains, ostrich trimmings, bows and embroideries. See also Richard Quinn’s operatic silhouettes bursting with vibrant blooms, Mary Katrantzou’s dazzling feather and organza gowns and Christopher Kane’s brilliant crystal-studded satin prom dresses. And, not least, the crowd-pleasing giant pink tulle dress by Molly Goddard – the designer who dressed Jodie Comer in Killing Eve reminded us that she was cutting tulle like topiary long before rising star of New York, Tomo Koizumi, hit the scene.

The flip side to full-throttle elegance? Fashion with a conscience, the other major topic on designers’ minds. It wasn’t just outside the shows that demonstrators protested with placards on climate change. Inside Vivienne Westwood’s rebel-rousing show (more of an angry demo) she and her campaigner models called on the industry to do more to prevent fashion waste. The sustainability issue is huge, particularly with the younger generation – labels to watch on that front include Richard Malone, Mother Of Pearl and Bethany Williams, a trailblazing activist, who was presented with the Queen Elizabeth II Award for British Design by the Duchess of Cornwall for her work (which includes textile development from waste products) with social education projects that help give addicts a way forward.

And so it was that London’s catwalks burst with imagination and crackled with creative energy. As for other fun things to note: if you’re not wearing a hat, you’ll be doing your hair in slick, wet-look waves. You’ll definitely be tempted by a statement coat, an argyle sweater and a loose swishy trouser. You might even contemplate wearing a clog, or two.