Maïa Adams summarizes the trends in fur at London Fashion Week autumn–winter 2004–5 but notes diminished attendance from media and buyers

SKED TO PINPOINT the appeal of British fashion, Kay Barron, staff writer at The Face, is clear. ‘Britain is known as a breeding-ground for some of the fashion world's biggest stars. The humour and irreverence that makes us push creative boundaries is our trademark.’
   London Fashion Week autumn–winter 2004–5 was the embodiment of this sentiment and, over the course of six days, those hardy enough to withstand the battering—inflicted by late nights, early mornings, high heels and hangovers—bore witness to an array of spectacles, both innovative and eccentric.
   If David Lynch were to conceive a fashion show, Boudicca's disorientated dominatrixes, clad in high-tech tailored garments and staggering through a muddy, moonlit field would be it. The theatrics continued at the labyrinthine Astoria Theatre where Robert Cary-Williams presented a typically off-the-wall extravaganza that featured calipered dancers, firework-distressed chiffon dresses, and a leather harness complete with swishing horse tail.
   Other whimsies of note included Anne Sofie Back’s Permatanned models, Steven Jones‚ fabulously outsized berets for Gibo and Red or Dead's Save our Allotments‚ a relaunch show at which the audience was seated according to vegetable row.
   This was also the season of impressive, one-to-watch‚ débuts. Hailed as the new Pucci, printmeister Jonathan Saunders embellished body conscious ’80s silhouettes with kaleidoscopic shards of burnt orange, fuchsia and metallic foils. Fellow St Martin's protégé, Giles Deacon, garnered column inches for his highly acclaimed Disco Jacobean Fantasy‚ by securing the services of Misses Elson, Herzigova and Auermann.
   Most notable among the trends, which included monochrome palettes, constricted tailoring and old-fashioned glamour, was the enthusiastic use of fur both in the collections. An ambitious precedent was set early in the week at Clements Ribeiro's wittily bohemian show during which booming lyrics asserted, ‘I’m mad about animals but raccoons and cats become a little boring.’ Just as well perhaps, but their Christian Loboutin booties adorned with Saga mink twisted tassels and a sheared mink skirt were anything but dull, especially when paired with Pearly Queen-style frock coats, top hats and tartan stockings.

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Clements Ribeiro's wittily bohemian show featured booming lyrics asserting, ‘I’m mad about animals but raccoons and cats become a little boring’

TOP ROW: Rafael Lopez, with silverfox tail on belt at right. CENTRE LEFT: Robert Cary-Williams. CENTRE RIGHT: Alastair Carr. ABOVE: Clements Ribeiro.