London 4, SS20
By Jo Phillips
Image on left Pheobe English
Named Dance the Pain Away, this collection was inspired by the 70s era disco mixed with 90s rave era. The collection features a lot of leopard print and 3D polka dots in mixes of vibrant greens, blues, pinks, and reds. The collection has a lot of sheer tops over tight-fitting athleisure ware and short dresses to promote the night-out inspiration of the collection. The tailored suit jackets paired with mini skirts and jumpsuits offer a distinct look geared more towards the 70s.
With a lot of feathers and fringe, the figure-hugging silhouettes of the dresses glittered on the runway. The collection used a lot of classic jewel tones with the occasional hints of pastel pinks or light aqua blues. The sparkly beading of the dresses combined with lots of cut-outs and pointy shoulder pads created McDonald’s effortless glamour look. The line also included men’s marble swim trunks and women’s one-piece swimsuits with lots of cut-outs.
This season is all about vibrant oranges, yellows, reds, and blues mixed together with big and small checkered prints. The long loose and layered looks McGuigan created emphasize the roller-blading disco era of the 70s. Her tye-died hoodies underneath vibrant checkered dresses and pink leather lace-up combat boots are all made from local fabrics as this is important for McGuigan’s designs.
Using his signature cheongsam design dress as a base, Zhang’s collection included a lot of ruffles, feathers, beads, and lace to add to the classic tight Chinese floral silhouette. He used variations of blues and reds with neutral beiges and blacks mixed with lace and ruffles to keep the designs far from simple. The models were often styled with dress matching short veils to keep the looks monochromatic.
Designed with silicone moldings to the models, this collection was shown alongside the film Wear Me Like Water showed off the women’s bodies wrapped in transparent silicone with pastel pinks, yellows, lime greens, and blues tactfully covering certain areas. Dwyer’s muse was to celebrate size-inclusivity and with her silks and silicone shaping tightly around the silhouette of the models she celebrated sisterhood.
Filled with cotton candy colors, Rubin’s collection was shown alongside a working ice-cream bar. The lace and signature sequin striped cardigans and dresses were styled with pastel multi-colored nails and square-toe neutral-colored mule heels. The dresses were midi or long in length and typically in an a-line silhouette with colorful polka dots, stripes, and florals. The standout of the show was a long black sleeveless dress that seemed too plain for the collection until the model turned and showed off the rainbow-colored bows sewn into the back of the design.
This collection was characterized by its lively bright aqua, pink, lime green, and lilacs. The utility suit silhouette was very apparent with long and short aqua blue dresses and baggy suits having multiple cargo-styled pockets and cinched waists. There were very baggy almost shape-less bright blue utility suits and short sleeve utility tops, which aligned with the designer’s muse of relaxation. Keeping with her goal of sustainability, there were many tops made of recycled bandanas and repurposed material from previous seasons, especially seen on a floor-length one-shoulder gown full of reused scrap material ruffled and sewn onto the dress.
Inspired by the Wizard of OZ movie, the collection takes a spin on western-styled ruffles and checkered prints styled with cowboy hats. The collection also included a standout androgenous ruffled pink skirt and matching long sleeve top and knee-high socks and liquid silver chaps with matching open and bare-chested moto-style jacket styled with a black cowboy hat. Abley included a rainbow feathered mini dress with a tube-style silhouette to continue with his fun-loving collection.
Drawing on inspirational LGBTQ athletes, the collection features chaotic color mixes and layered raw hems. Many outfits were styled with colorful medals and sports gear, paying homage to the LGBTQ athletes. The baggy silhouette was shown in everything from dresses to jumpsuits and matching jacket and pants. The models were styled with colorful face paint matching the many fun colors and graffiti-like patterns of the outfits.
The punk-rock element was added to the modern and historic icons, which served as the basis of the collection. The line mixes lace with silk and satin with tulle and clashes heavy fabrics with lighter more delicate ones to create a more chaotic image. The asymmetrical silhouettes were made in pastel rainbow colors mixed with black. The more form-fitted silhouettes of the denim dress or leotard were complimented by their pastel tie-dye pattern and styled with colorful wigs.
© Fyodor Golan 
© Fyodor Golan 
The western-inspired collection features cowboy hats and long trench coats and leather bonnets. The neutral palette is complemented by bursts of neon green accessories like the square-toe knee-high sandals on two different slim-fitted silhouettes. The trousers of the collection were kept loose and baggy while the tops and dresses were fitted through the body and ballooned at the arms. The line also mixed fabric, using leather hats and sandals paired with linen and cotton. All the models were styled with square toe sandals in blacks and whites or pops of neon green.
Known for his perfect tailoring, this collection Osman brought pastel yellow, tangerine orange, and mint green solid colored suits to mix with blue and white floral suits. The slightly baggy silhouette was amplified by his bubble-shoulder dresses that hugged the figure in the middle and ballooned at the sleeves.
This season, Knorr has bright pinks, reds and oranges mix with liquid golds, silvers, blacks and creams. The silhouettes are cinched at the waist and fitted at the hips but long and loose at the arms and legs. The collection features a lot of dresses paired with flared pants in sequinned silver or small floral patterns. The models were styled with brightly colored eye makeup and often sported thick headbands.
P 
