A few weeks ago we, the Cherwell fashion editors, were lucky enough to be extended an invite by the Global Fashion Collective to their London Fashion Week show. After a flurry of excitement and calling our parents to announce that we had finally ‘made it’ as fashion journalists, we assembled the closest thing to an avant-garde look we could muster with our uni wardrobes and hopped on the Oxford Tube to Shoreditch. The stated aim of the Global Fashion Collective is to “amplify global voices in fashion” with an emphasis on elevating “independent designers on an international stage”, an agenda that was abundantly evident in the show. It consisted of the collections of four independent designers, hailing from all over the world, to create a loud and rich celebration of multiculturalism in fashion, proudly weaving national identities into their work. It was a breath of fresh air, a rejection of the notion that appearances or customs divide us, instead showcasing the beauty and artistry that comes from collaboration and community.
First onto the runway was Alex S. Yu, presenting his collection ‘A Flicker of Winter’. Yu’s eponymous label, based out of his studio in Vancouver, presents itself as “contemporary womenswear for the everyday dreamer”, and this emphasis on bringing the whimsy of a fantasy world was certainly present in the rose-tinted lens through which his pieces seem to be filtered. Sharp tailored silhouettes, emphasised through contrast seams that foregrounded structure and craftsmanship, were veiled in tulle, giving such formal attire an ethereal air of magic. The streetwear elements, hoodies or t-shirts, meant that while his items had all the glamour of an editorial shoot, they still felt firmly grounded in urban life, pieces of art one might actually pull from one’s wardrobe on a dreary Monday morning. Yu’s work is built off of the dynamic friction of unlikely pairings; the mix of the high-low dressing, layering a sweatshirt over a tailored blouse, or the tulle accents and textured fabrics used to reinvent what we deem conventional workwear, is at the heart of what Yu is doing. It’s classic silhouettes with innovative details, with chunky silver jewellery and hair pieces reinforcing this expression of brand identity. Yu’s use of layering was equally noteworthy, adding graphic floral appliqués, or layering unorthodox materials like faux leather, latex, and mesh, which speaks to his interest in the unexpected. There was something about Yu’s collection that made the little girl inside me jump with joy. In an ocean of Pinterest outfits and micro-trends, Alex S. Yu is all about finding the excitement and beauty in the unexpected.
The second collection displayed was from the French label SAYF. Titled ‘Excellence’, the show focused on a wonderful combination of traditional clothing from Arab, African, and Asian cultures with contemporary street wear style. Hoodies, coats, and jackets were extended to the length of tunics and modernised through variation in material: denim, silk, and leather hoodies all made an appearance. In a time where men’s fashion is limited and often dull in comparison to women’s shows, Sinan, the designer, shot life back into it. These items were injected with elements of rich cultural and religious history through the models’ head coverings and even rosaries dangling from some of the models’ hands. It was here, in the accessories, that this collection truly shone. The most striking of these, for me, was the closing look where the model was adorned with an entirely white headscarf underneath a matching baseball cap. The combination of the traditional with the contemporary in a chic yet inventive way was at the very soul of Sinan’s collection.
Dunne Cliff was the penultimate display of the show. Its designer, Allison Dunne, perfumed her runway with the concept of “clothing as essay” as she questioned technology and the climate crisis through the fashion show. Before the models arrived, Dunne Cliff was introduced to us with a visual piece. On the screen behind the runway we saw videos of beaches contrasted with images of pollution and a once beautiful environment damaged. The first model then walked out, carrying a bucket which she placed halfway down the runway. Each model that arrived after her placed something into the bucket. It started with bottles of water being poured in, then mock ceramic phones with earphones attached. This performance exploring a wasteful society consumed by technology was somewhat reflected in the clothes. The pieces held strong senses of originality and modernity as well as being deeply rooted in tradition. Contemporary style could be seen in the cuts and tailoring of the clothes, with baggy jeans and fitted tops dominating the show. However, in every outfit there were souvenirs of the past. One of the most obvious ways I saw this was through the hair accessories. By that I don’t mean accessories worn in the hair, but accessories made out of hair. This alluded to the Victorian trend of keeping the hair of loved ones in lockets or other jewellery pieces as a memory of them. Additionally, the past is acknowledged through the distressed nature of some of the clothes. The torn fabric and the holes in felted jackets fed the argument of the “essay” Dunne was writing for us. These pieces emphasised the importance of sustainable fashion and getting longevity out of the clothes we wear – that wearing a jumper to the point of damage is, in fact, a triumph and deserves a spot on the London Fashion Week stage.
If the show made one thing clear, it was that nobody knows how to make a woman feel like a goddess quite like Olena Adam does. The Ukrainian designer, who was kind enough to speak to us about the inspiration behind her collection after the show, highlighted her desire to bring out the beauty in our world, especially during such a bleak time both in her home country and beyond. The collection, entirely created and produced in Adam’s studio in Ukraine, took my breath away. Amongst the bold colours and prints Adam sent out onto the runway the star of the show had to be her ‘Festan’, which she describes as ‘a versatile wardrobe piece that seamlessly fits into any setting’. These flowy robes shimmered under the lights, the air catching beneath them, creating dancing trains that followed the models. Garments that would not look out of place in a Disney Princess’ wardrobe, bedecked with statement jewels and envy-infusing bedazzled headpieces. Another interesting aspect of Adam’s collection was the contrast of these flowy, almost sleepwear-inspired pieces being styled with intricate updos, full glam makeup, complete with a red lip, and statement jewels. She fully leans into the notion of intimates as outerwear, transforming corseted details, and slip inspired dresses into works of art, elevated through her incorporation of rich colours, ostrich feathers, and embroidery. She finds the beauty in the ordinary, transforming her models into ethereal beings with her focus on the elegant woman who deserves to be seen.
