Thankfully, the solution to the economic crisis is not just turning out to be more of the same cast in a neutral palette. London’s, dare-I-say-it, spectacular showing for Fashion Week was an exercise in how you can win over even the most serious customer with unwavering originality and faithful execution. The importance here lies in that little combiner “and”, because if it was only originality or only execution, the effect wouldn’t be as aesthetically wonderful. Which is a meandering way of saying, that this London Fashion Week has been a real treat.

Giles Deacon, a Central Saint Martin alum, waxed nostalgic of his student days for his Fall/Winter 2009 collection. Deacon showed everything from stiff leather skirts, furry arm warmers, miniskirts to fitted bodices.  Katie Grand, the editor-in-chief of the new Conde Nast title, LOVE, was on hand to smooth the assorted array of pieces with some editorial polish that gave the collection an undercurrent of continuity.  There was similar layering throughout, relaxed hair and makeup and a commonality in diversity from the clothes to the models. The models ranged from girls picked off the street to Eighties supermodels that reminded me of some of Galliano’s earlier castings.

Giles, Fall/Winter 2009

In contrast to the solids at Giles, Erdem Moralioglu of Erdem has built a name on print.  For Fall 2009, Erdem played with the notion of youth. There were printed dresses with high empire waistlines and puffed skirts, but these were grounded with an old world couture quality in the cut and fabrics that had a seriousness and worthiness to them that toyed with women looking for more practical pieces. Erdem saved these more “grown-up” pieces for last, showing several long dresses that while well-done, made me realize my thoughts were still lingering over the earlier pieces with their lovely lace overlays, beautiful prints and light-hearted construction. Such, I suppose, is also the nostalgic attraction (and pining) of youth.

Erdem,, Fall/Winter 2009