(LONDON) Thomas Tait
A fast and furious cacophony of futuristic looks, like color blocked nylon and knit dresses in white, black, and grey with blasts of neon, debuted appropriately in a parking lot for Tait’s Fall collection. Racecar driver jumpsuits and leather moto jackets and trenches combined with blade runner-esque leggings added spunk to the sportif collection. Windbreakers also came in neon color blocks or in see-through white layered over tight fitting jumpsuits. As for those toe steppers, we never thought we’d see the day that socks and teva-style shoes made a runway, but alas there they were and dare we say they almost looked cool in context. Whether or not you can wrap your head around those, the collection’s undeniably hip street vibe was at top speed.
Moschino Cheap and Chic
Leave it to the London shows to roll out punk galore. Moschino’s Rosella Jardini and Francesca Rubino followed suit with a perfectly punky assortment that seems only fitting since the brand is set to debut a handful of archival punk pieces at the Met. This time around, the youthful movement that surged in the ’70s found its rebellious nature by going against its own trademark with a hearty dose of pink as the color du jour. Alongside standards like a leopard print lingerie dress, mini skirts with Stephen Sprouse-like scribbling, and high-heeled creepers were zipper heavy jackets, an oversize fur coat with leather lapels, and a tuxedo mini dress—all in variations of that girly-girl hue that packed some serious punch. And who better to cast than the rebellious, flame-haired mod-of-the-moment, Chloe Norgaard, who stomped down the catwalk complete with cartilage piercings lining her ear. Feroche.
Straight out of the gate, a foxy, poofy-haired ginger paraded down the runway in a white trench coat embroidered with 23-karat gold that matched her blazing booties, setting the tone for L’Wren Scott’s disco-themed duds for Fall. The opulence of artist Gustav Klimt’s gold-infused paintings of muse and Viennese socialite Adele Bloch-Bauer served as inspiration for the glittery collection. The gilded garb was constructed into looks such as a fabulously flashy scale printed gold coat (avec blue silk lining), matching high-waisted skinny pants, and a metallic gold leather pencil skirt. Klimt’s swirly sun-like patterns appeared elsewhere in a dramatic, heavily embroidered gold and noir cape and a burnt orange and gold silk halter dress whose swirls devolved into a sultry snaking pattern. All in all, glam was in full force chez Scott.