|
The Fashion Theatre
ACCESSORIZE, accessorize, accessorize
was the message exuding from the 5,500-seat Fashion Theatre at this
year’s Clothes Show Live event. Whether accessorizing with one of
the luscious male models or jewellery from Mikey was another matter.
Hosted by an A-list celebrity line up throughout the week including
Tara Palmer-Tomkinson, Vernon Kay and So Solid crew’s Harvey, the
event lived up to its reputation of being a glamorous affair.
The models, brought in from dance colleges across
the country combined a mixture of funky dance moves together with
an attitude laiden strut, to provide an awesome catwalk extravaganza.
The designers clad the models in nine different genres of clothing,
ranging from futuristic, space-inspired designs to NYC-inspired
street-wear. The most entertaining of the phases was undoubtedly
the pirate set. The men ran onto the main stage brandishing swashbuckling
swords, duelling energetically, while two acrobats climbed the rigging
that had magically descended from the roof of the fashion theatre.
Intermingled with the pirates were "cabin boys" draped
in light linen trousers tied at the waist, while the "maidens"
were clothed in a bohemian style, with a touch of native American.
The emphasis was heavily on layers and a mix of textures intertwined,
such as lace, wool, silk and cotton, while clothing was spiced up
with feathers, beads and delicate print headscarves.
After the pirates had completed their exploits,
there was an ’80s–’90s revisit, seeing women accessorized to the
max wearing trilby hats with elbow-length gloves and low-slung belts
over loose-fitting short dresses.
Fashion was politicized by the next set, which
saw men dressed as US GIs walk solemnly
down the runway to emotive pan pipe sounds. Intermingled with the
GI figures were renegade rebel soldiers
dressed to recall Che Guevara, wearing red headscarves twinned with
khaki combats and black vests overlaid with dog tags. The females
echoed the style of Communist Russian workers of the 1930s, boyish,
looking into the audience with low-drawn peaked caps shadowing their
eyes. Towards the end of the set they became more feminized as the
models were clad in DPM bikinis wrapped
with khaki netting, as they delivered the ‘No War’ message of the
piece to the audience.
Lightening the tone but almost like a history
lesson, the next set revisited the peace-loving ’60s as shift dresses,
clashing bright prints and electric-coloured tights danced down
the catwalk. Footwear was funky and eye-catching, ranging from leather
thigh-high boots and "kinky" booties to electric blue
kitten-heeled shoes.
A hat revival was also apparent, whether in preparation
for protecting hair from the elements or making a statement. There
were black and yellow PVC hats galore,
1940s industrial workers’ flat caps and chieftain headdresses to
adorn the tresses.
The pièce de résistance finalé
saw the models clad in punky leather rocker-chic outfits. Brandishing
whips, polished buckles, chains and chunky jewellery, they were
definitely not to be upset. The materials were predominately black
silk, leather, PVC and metal shaped
to fit. The men’s outfits were much more original as we saw the
previously hunky pirates transformed into semi-transvestites clad
in fishnet tights, tiaras and top-to-toe white fur coats.
This was definitely one of the best catwalk shows
the event has seen. Rather than merely a show, the designers had
personalized their clothing, giving their creations stark messages,
whether politically or culturally relevant. It was fresh and revitalizing
to see designers active once more; designing, not just for show,
but for impact and change. •
|
 
The pièce de résistance
finalé saw the models clad in punky leather rocker-chic
outfits. Brandishing whips, polished buckles, chains and chunky
jewellery, they were definitely not to be upset
|
@