Few seize the spirit of the British fashion industry fairly like Harris Reed. Although the 26-year-old Central Saint Martins graduate continues to be within the early phases of his profession – having produced simply 5 collections up to now – he has temporarily grow to be probably the most thrilling designers on UK soil.
As a scholar, he was once already designing garments for Harry Kinds and Solange. Now, the half-American, half-British skill has expanded his clientele even additional, with everybody from Beyoncé and Iman to Adele and Lil Nas X dressed in his famously gender-fluid clothes. Reed’s is an aesthetic that persistently subverts expectancies. Silhouettes are oversized. Stereotypes are became on their heads. All of which is to mention the anticipation surrounding Reed’s London Model Week display was once palpable.
The site, a cavernous organ-and-chandelier-equipped venue tucked at the back of Liverpool Side road, was once draped in scarlet velvet curtains, providing a glimpse on the opulence that was once to come back. With only a few seats lining the runway, the atmosphere was once unusually intimate. Visitors, together with Sam Smith, trickled in to the sombre lines of Imogen Heap’s “Conceal and Search” till the lighting went down and out stepped Queen’s Adam Lambert. Few may fit Pavarotti’s illustrious model of Puccini’s “Nessun Dorma”, however Lambert’s spectacular, spine-tingling vocals got here shut, atmosphere a melodramatic scene.
As for the gathering, smartly, put it this fashion: it controlled to by hook or by crook outshine Lambert’s efficiency. The primary glance of 12 was once a low-slung white silk skirt with a black velvet corset and oversized sculptural collar. Paired with a protracted round most sensible hat, it felt fittingly regal – a refined nod to the past due monarch, possibly.
Subsequent got here a long-sleeved velvet robe with a peplum fishtail, worn with one among Reed’s signature circle hats. It regarded find it irresistible have been plucked out of a black tie ball within the Nineteen Fifties. From then on there was once quite a lot of color: an eye-popping fuchsia robe juxtaposed a chain of orb clothes that comprised peek-a-boo face holes in peacock blue and yolk yellow.
Texturally wealthy, the gathering additionally featured a great quantity of sequins. There was once a monochrome polkadot trouser swimsuit and a silver fishtail skirt paired with a breastplate, created with Missoma, depicting celestial symbols. In conventional couture taste, the overall glance was once bridal: a balletic white strapless mini get dressed paired with a crinoline headpiece higher than the skirt itself.
The name’s assortment, MISE EN SCÈNE, referenced the “collective effort, group and collaboration that is going into each Harris Reed assortment”, the display notes defined. This season, Reed was once impressed by means of “the performative nature of get dressed, taking inspiration from the rigorous codes of a debutante ball”. Therefore why conventional female codes, similar to crinolines, corsets and headpieces, are reimagined thru Reed’s fluid lens. What’s extra, as in earlier Reed collections, lots of the ensembles had been created the usage of deadstock material.
As fashions slowly made their manner down the runway of their theatrical clothes, gently swaying their palms in dance-like motions to the sounds of Lambert belting out Queen’s “Who Needs to Reside Ceaselessly”, the temper was once corresponding to that of a Dior display from the Nineteen Fifties. Such is the mastery of Reed’s craftsmanship. If it is a signal of what’s to come back, London Model Week might be set for its maximum defiant season but.