London Fashion week S/S 2021 - Key Trend insight
Globally everywhere COVID-19 Pandemic has horribly damaged the economic activities. The London fashion week S/S 2021 FASHION WEEK DATE- September 19 - 22, 2020 's 2020 women fashion week is an ambition to gradually continue the lost track, furthermore, start the fashion season.
For many corona virus outbreak is a liberating period to stop, relax and reset. It helped to create something unique that lacked in last few previous seasons. Designers have more time to think and create something playful and engaging stuffs.
For the S.S 2021 season, we spotted numerous designers such as Molly Goddard, Mark Fast, and Vivienne Westwood are pushing enthusiasm and optimism through the intense colors for a very quirky playful mood.
The London fashion week S/S 2021 FASHION WEEK DATE- September 19 - 22, 2020 is lingering amidst the darkening clouds of further government constraints due to the recent exponential spike in the pandemic potential second wave. This puts more pressure on LFW to shine especially in the arena of spawning new ideas from the crop of energetic young designers.
The fashion needs to find the purpose especially when everyone is feeling lost it is required to install a narrative of hope and transformation.
After an unquestionably sluggish start in its day one, LFW S/S 2021 seemed brighter today with a lineup of designers with more substantive presentations and of designers with great expectations for sprouting plenty of wonderful new ideas as well as masterful executions of their collections.
Recycling, upcycling, sustainability, and gender fluidity are not just buzzwords here but for many seasons now they are the core missions of these brands that are not yet household names but are leading the fashion industry to a new state of consciousness.
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Key Color Trend Direction:-
The key color trends that developed at the London fashion week S/S 2021 FASHION WEEK DATE- September 19 - 22, 2020 S/S 21 were motivated by the playful mood of the designers. It was a time to question and counter the current slow life caused by the Coronavirus pandemic. The positive thing that surfaced during the lockdown was to redefine the future fashion that less is more and help the consumers to smile. Thus, the colors that emerged at the display were bright, vivid, and childlike poppy eye-catching hues.
Key Style Trend Direction:-
While the colors spotted were quirky, the silhouettes had two challenges- to be relevant and to be chivalrous especially when consumers are currently feeling low and devastated. The present situation has impacted lifestyle, which transformed it into quite a relaxed and roomy silhouette as staying home appears as the only option.
Margarete Howell and Bethany Williams have shown us how to achieve luxury in less and why a relaxed look is going to be future for the next few seasons.
BETHANY WILLIAMS- ‘All My Children’
Lockdown enabled Bethany Williams to have time to research and experiment for her S/S 2021 collection.
For spring, the designer brings a collection filled with “firsts” — first-time tailoring by way of corsets and blazers, the first bag collection, and the initial children’s wear line.
The collections focused on Knit, denim, and patchworks. The styles were quirky, abstract prints, and playful dramatic text prints. There were Jeans, Denim Jacket, and sweatshirts. She offered a mini capsule of matching adult and kid sets in chunky knitwear and patterned dresses. Other pieces were created by taking patterns from children’s drawings, which were cut from Adidas deadstock and appliquéd onto jerseys.
The spring styles played with newness as a big part in her collection, the designer also continued her work with the Magpie Project, a charity that helps homeless mothers and children, and presented a colorful collection inspired by family spirit.
Williams spring collection is a close collaboration with the Magpie Project, an charity organization ‘supporting mums and under-fives in temporary accommodations in Newham’ to decrease the potential damage of homelessness to children, where she worked directly with the families involved in the project that includes using the children’s drawing into prints and patterns of the textiles used in the clothes.
The photographer Ruth Ossai shot a film title ‘All My Children’ where five different families posed in front of the Magpie’s office wearing the spring garments and the playwright Eno Mfon wrote a poem as a soundtrack.
A recycled patchwork denim hooded parka or a denim pullover with red stitching embroideries paired with multi washed loose denim pants all culled from nine pairs of old jeans and a sweater re-sown from six different worn sweaters from that graduate show anchored Williams community-based fashion, from design to production that revolves and involves local organizations to foster innovations in fashion design that connect directly with social and environmental issues facing global society.
Williams’ ways of making these clothes can be seen in the blue print coat made from the kid’s drawings coupled with recycled Adidas logo bands and in an ecru knit cardigan made from old sweaters.
White vivid print pants and blouson, the white and navy denim jackets with fabric patches, a navy pinstriped vest and matching pants, or red print cotton zippered jacket with three stripes sleeves are other highlights of Williams spring selection.
“Our future lives in their imaginations until they can build it, until their mouths can be filled with words of their own …they say it takes a village to raise a child and I say we are that village,” the female voice recited the Mfon poem.
A young boy in white sweats happily playing with a young girl in a white cotton print flare dress with their school lunch boxes next to them isn’t a typical moment for a film on fashion but here it is one of the most memorable images of how fashion can bring a community together in ways that aren’t predictable.
In this respect with ‘All My Children’, Williams accomplished much more with her societal undertaking than making a spring collection and a spring collection video.
RICHARD MALONE- Less is more
The recent pandemic lockdown period has been a difficult period for everyone economically and emotionally but each person undergoes the isolation and the lack of physical contact differently and differently. The situation led to go minimal and less extravagant styles via using fewer resources while creating the collections for the S/S21 runway season.
Malone for his S/S21 collection used any resources that were available to him at the time like Irish linens and an array of leftovers from past seasons like velvets that he rewashed and re-dyed in his bath tube.
The designer designed the new clothes around the notions of armor – “Solace is sought in an armory of gorgeous, weighty, almost upholstered, substantial evening wear. Clothes you want to climb into, to run away in. Borderline hysterical, high drama for an appointed with no one.”
No surrendering was Malone’s answers to make as opulent a spring collection as he could by embracing and exaggerating his signature elements of dramatic drapery, rounded shoulders, and hyperextended proportions with the materials he had on hand.
The materials he specially selected from bamboo yarns to econyl to old upcycling fabrics. Malone knows that for his clients the value of his clothes is not just in the artistic design of the garment but just as important it is in the how and what they are made.
Instead of simplifying during the bad times, Malone defiantly chose the drama.
The Malone’s store had strong details that made him stand unique like red crushed velvet cropped pagoda shoulder pantsuit, olive cotton jacket with high raise shoulder, mustard gold crinkled velvet off-shoulder gown with side-folding panels, matador boleros with shrug shoulders and long column dress, and ice blue velvet strapless corset micro dress with short attached tails.
Vivenne Westwood- a Quirky Take
V Westwood's spring 2021 collection was showcased via an online movie. The compilation brought the idea of protest where models were observed dressed in quintessentially British check suits and masks featuring “True Punk” logos.
Her Collection had a purpose with an idea to highlight the Gender Neutrality, in favor of optimism and sustainability as core to create a wonderful society.
For that mission, she favored the punchy vivid colors, gender-neutral silhouettes, and a clear “anything goes” attitude throughout her new collection. Her styles were aimed at putting traditional notions, attention-grabbing pieces that can be worn by anyone and at all times
Women spotted in paired sharp blazers with boxers, there was corsetry added to men’s suits, while knit twinsets were worn with nothing but printed knickers — perhaps a nod to the new work-from-home culture and Zoom’s dress-from-the-waist-up requirement.
There were also plenty of loungewear and easygoing jersey body-hugging dresses, with bright, graphic prints splashed all over them.
The latter was developed from the artwork of friend and fellow punk artist Chrissie Hynde.
She promoted her sustainability mission through the use of organic cotton, linens, and recycled denim.
Her ultimate mission is to offer one unisex collection a year.
Molly Goddard- Against the mood
Molly Goddard had originally decided on a pared-back collection with neutral colours, reflecting the mood of lockdown.
The result was a collection full of clashing color and texture, newness — in the form of printed denim — and even a first collection of wild wooly caps with Stephen Jones. While the designer may have dialed down her ginormous volumes, all that Goddard flounce and bounce and texture were out in force, from the lemony tulle prom dress (paired with bright green platform clogs, the fruit of a collaboration with Ugg) to the polkadot and patchwork tulle dresses and skirts to the knits edged with frills.
Accessories were just as bold, from the crocheted ribbon bags in hot pink and tangerine to the knee-high boots and fuzzy flat red slippers, while knits were dizzying — pink and red graphic check cardigan layered over a striped crewneck ideal for “The Cat in the Hat.”
Margaret Howell- laid-back classics
The revisions to this rich collection of laid-back, classic items are often so subtle, it’s difficult to tell where one season ends and another begins. Margaret Howell and her team are always quietly tweaking and renewing the offer, commissioning new fabrics and colors from longtime suppliers, and subtly adjusting proportions on the spare, roomy separates for which this collection is known.
Newness this time came in the form of sailor trousers that hugged the hips; mannish styles with thick belt loops and pleats, and wide-leg culottes, some worn with chunky sweater vests tucked into the waist.
Roomy shirtdresses came in dark yarn-dyed fabrics, while a boxy silk-and-cotton shirt with a wide placket at the front had a youthful edge. The palette was classic, earthy Howell, with myriad shades of stone and sand, as well as chocolate, olive and navy blue. Howell continued working with Barbour this season, putting an urban spin on the latter’s classic, featherweight Ventile jacket.