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Bermudian designer Meagan Wellman is in the process of relaunching her fashion line M-SEW compete with online store and new products including, for the first time, footwear.

A new carousel was recently unveiled in Wattens, Austria by well-known crystal manufacturer Swarovski as part of Swarovski Kristallwelten, a sculpture garden-cum-visitors-centre nestled among the Tyrolean Alps, near their head office. Created by Spanish artist and designer Jaime Hayon, the carousel eschews colour is rendered in black and white with accents of gold, all of which contrast beautifully with the lush, green surroundings. The result is surprisingly elegant.

Why should kids have all the fun? Blockitecture is a set of adult-friendly wooden blocks created by designer James Paulius. The quirky kits reimagine the concept of traditional building blocks and by foregoing the conventional cube shape for more creative forms, Paulius has crafted sets based on two architectural concepts: Habitat, a miniature metropolis, and Parkland (pictured), a forward-thinking green space. It features flat pieces that fit together like a jigsaw puzzle. Some of the blocks have three-dimensional objects like mini trees and trellises attached and builders are encouraged to conceive their ideal green space. 

Blockitecture merges minimalist design with an imaginative aesthetic and prove that wooden toys are not just for kids anymore.

Inspired by their time on the island of Bermuda and named after the small bay surrounded by cliffs on its North coast, the founders of Deep Bay canned cocktails use premium distilled spirits, carbonated water, and natural flavours in their drinks.

The M A N I collection by Britta Hermann was inspired by the creativity of traditional Italian craftsmanship. In her quest to create her first collection of hand-made accessories, Hermann moved to Tuscany from Hamburg in 2005 and became inspired by the architecture and colours of her new home.

The toothbrush is a designer staple perhaps second only to the chair, so the Usetool Toothbrush seeks to set itself apart from the crowd with its stylish design. The sonic wave toothbrush by Jiyoun Kim Studio comes with a wireless steriliser and a small magnet in the neck of the toothbrush allows it to be stored vertically on the bathroom wall. By Usetool Company.

We're not fond of ostentatious displays of wealth instead preferring good design over sheer expense, but this standout property located in Bermuda straddles the border between the two and deserves a feature if only for its unique location and stunning views on an island this size. The seven-bedroom home measures 10,700 square feet and sits on 5.5 acres and has its own tennis court, pool, chef’s kitchen, and media room. 

In an unexpected move, on May 30 superstar designer Marc Jacobs launched a new contemporary line several years after shuttering his last diffusion brand Marc by Marc. This time the line, which is called THE Marc Jacobs after the designer's personal Instagram handle, will focus on individual pieces that range in price from $90 for not-so-basic tees to $895 for coats and outerwear. 

The grid shopper from Mismo is built from waterproof ballistic nylon, making it a perfect choice for travel or a day in the city. The inspiration for the bag was taken from harnesses and the black leather grid pattern and black leather accents add extra protection for the tough nylon exterior. The bag includes a roomy interior with a padded laptop sleeve, a pocket for documents or books, and a smaller pocket sized for a phone or other valuables. 

Artist Brendan Lee Satish Tang gets much of his inspiration from his multi-cultural background and international upbringing. Born in Ireland to Trinidadian parents, Tang has studied in the United States and Canada, where he is a naturalised citizen. These cross-cultural experiences means Tang is no stranger to diverse environments, a concept that is reflected in his The Swimmers series.

The term "fish out water" is often used to describe the mixed emotions that can come with being out of one's depth due to new and unfamiliar circumstances and surroundings. This feeling of culture shock is familiar experience for many and The Swimmers series plays with the idea that we - the fish - are always finding our way through our greater culture and history. The series symbolically explores the ways in which people immerse themselves in cultures from around the world. The detailed drawings that make up this collection reimagine traditional blue and white 18th Century English earthenware and Delftware porcelain plates as undulating swimming pools enjoyed by a pair of swimmers of various ages.

Including a duo was a deliberate decision on Tang's part as it emphasises the idea that we learn traditions and cultural practices from one another; these things are not hard-wired. As they swim and splash in the symbolic patterns, the swimmers appear unaware of the complexities that surround them. From this nonchalant attitude can be inferred either a type of ignorance or a sense of optimism, perfectly encapsulating the mixed emotions we feel as we wade through uncharted territory.

Like something out of a science fiction novel, IKEA's newest product aims to improve the health of your indoor environment while also making it beautiful. 

The Swedish ready-to-assemble furniture retailer has developed a type of fabric that can actively purify the air in your home. Called GUNRID, the curtain uses a technology IKEA has been developing over the last few years in collaboration with universities in Europe and Asia. A mineral-based, photocatalyst coating is applied to the surface of the fabric and, using a process similar to photosynthesis, it breaks down particles of common indoor air pollutants such as odours and formaldehyde, thereby cleaning the air. For the photosynthetic process, either artificial or natural light can trigger the effect, but details as to exactly what type of particles it can act on, and how large they need to be, have not yet been released. 

While the GUNRID curtains are the first product to use the textile, the newly developed technology is not restricted to curtains. It can be used on other soft furnishings such as bedding and cushions. 

In colder climates where fresh air may not be available all year around, the application of this fabric could be tremendous.  But don't rush to your nearest IKEA just yet; a prototype of the curtain will not be released until 2020.
Hard Copy by Noa Raviv

These beautiful, sculptural clothes by Israeli designer Noa Ravi are inspired by computer glitches and digital errors. Ravi crafts her pieces by creating "defective" digital images in 3D using a command that the native software in unable to execute. Called the Hard Copy collection, the pieces swirl and envelop the body. She keeps to a limited palette - mainly monochromatic - which allows the form to take centre stage.

The textiles used in the collection were developed in conjunction with Stratasys.

Easter's on the way, so why commit to standard elliptical offerings when you could try the reinvented chocolates of Melbourne/Hong Kong-based artist and designer Ryan L Foote instead?

Known for his food art installations, Foote's chocolates are for the digital age. For the last three years Foote has been living between Melbourne and Hong Kong, traveling back and forth for various projects and his chocolates aim to capture the signature flavours of these regions such as unique Australian botanicals, traditional Hong Kong inspired flavours, and a range of single origin chocolate from the Asia Pacific region. This collection combines his love of chocolate with innovative 3D-printing technologies to create a truly unique range of contemporary chocolates. The chocolates are visually engaging and reflective of contemporary design. They take culinary inspiration from around the Pacific including geological formations, natural minerals and the built world of architecture.

This simple, but sensible small space fix is from designer Michael Hilgers who has cleverly created a shelf-cum-desk called Twofold. Hilgers is on a mission to create furniture for small spaces that maximises every possible inch of space. Designed for Müller, Twofold uses an integrated hinge mechanism to turn a narrow bookshelf into a great little work desk. It's clear Hilgers has thought of everything: there is even a small notch in the shelf for charging cables.

The single colour of the Midtone calculator by Selek Design helps it meet its aim of creating as little visual fatigue as possible. The design unifies the LCD display with the main body of the device creating a monochromatic look.

We have been following with great excitement Naomi Chin Wing's turn on various runways in the US and Europe last season starting with the couture shows (which we don't feature here) as the nineteen year old hails from the twin island republic of Trinidad and Tobago in the Caribbean. Represented by IMG, she has already walked for some of the best fashion houses in the world including Valentino, Dior and Versace.

I've always promised myself that I'd sign on for one of these 100 day creative projects, but until such time as I get may act in order, have a look at British ceramicist Anna Whitehouse's take on the popular concept.

Starting on January 1, 2018, Whitehouse created a decorative clay bottle every day for 100 days. Each press-moulded bottle in the #100bottles100days series is uniformly shaped and sized and formed the perfect blank canvas for her to experiment on. From perforations to floral motifs, the now completed collection of 100 clay vessels showcases the artist’s fascinating array of experimental techniques.

For her, developing the patterns was fairly easy. To come up with her designs, Whitehouse referenced her sketchbooks filled with the many unexplored pattern and texture ideas she had accumulated over many years, and used anything she could to make the patterns and impressions including non-standard clay tools, pen lids, tweezers, scissors, and even a string of beads. In some instances, she would use the same tool each day but in different ways: pressing it at different angles, scraping in through the surface, or layering it with a different texture. This experimentation enabled her to create particular marks and she either referenced her sketch book to decide on what she wanted to make each day, or continued with an idea from a previous bottle. The project was a great way for Whitehouse to experiment without the fear of making a mistake as there would always be another bottle to play with the following day. 

She chose to record the 100 creations on Instagram, creating a visual digital record and a way to review her progress, but making her pieces public in this manner also meant she had to be accountable as people were following her progress. Whitehouse feels this sort of creative challenge can be constructive as it pushes development of skills and ideas and moves the artist away from the compulsion to produce something perfect. Having a more experimental mindset and the freedom to create mistakes can lead to new and exciting ideas that would never have come about any other way. 

The 100 bottles in 100 days project is being exhibited at The Craft Centre and Design Gallery, Leeds, UK from January 8 through to April 20, 2019.

These lamps are actually 3-D printed lighting created by a coterie of emerging international designers. This type of printing technology is rapidly democratising design and manufacturing as it offers luxury-quality lights at an attainable price with little to no waste.

Our favourite of the group is the Float lamp by designer Viviana Degrandi who wanted to create a light that was flexible, simple, and would fit in any room of the home. The lamp was inspired by Japanese glass fishing floats which rest on the surface of the sea and help attract fish to the nets. The lamp was created to be versatile. It can be hung on the wall or lain on its side.

This contemporary twist on the traditional Windsor chair is a collaboration between Hayche and Brighton-based branding agency Studio Makgill. The WW Armchair is a bright and playful seat whose colour-blocking and wire-wrapped sides elevate what could be a pretty standard piece.  The chair is available in six different colours.

Sleek and smooth, the Blackline rolling pin is made from sustainably harvested white oak which has been oxidised to give the tool its dark colour. The piece has been treated to make it food safe and the surface will naturally patina over time. The hand-carved utensil is pretty and simple enough to be left on display in any modern kitchen. Made in the United States.

Architect John Hix has designed a hotel complex called Hix Island House in Vieques, Puerto Rico. The most recently completed guest house on the property is called Casa Solaris and it is entirely complete off-grid and runs entirely on solar power. 

As with the other buildings on site, Hix designed Casa Solaris to take advantage of the natural elements in Vieques. He uses openings to capture the trade winds that flow across the island by the use of strategically-placed walls and windows. The house is built of block and reinforced concrete - a common material in the Caribbean because of its strength and ability to withstand hurricane-force winds - and the unpainted exterior surface makes for an interesting contrast to the lush surroundings of the property. In keeping with the environmentally-friendly theme, the bathrooms recycle grey water from sinks and showers to help irrigate the surrounding landscape which includes native plants like hibiscus, banana, key lime, and ginger.

Kid Made Modern

This set of fifteen two-toned, octahedra crayons from Jonathan Alder's side project Kid Made Modern look like mini sculptures. They feature multiple points and edges which allow for endless combinations of colours, lines and widths. The crayons are non-toxic and sized perfectly for smaller hands.

On October 1, 2018, Google celebrated the 230th birthday of Bermuda-born slave Mary Prince with this illustration.

Born in 1788 in Brackish Pond, Bermuda, Prince was sold several times during her life. She ended up on the island of Antigua in 1815 where she joined the Moravian church and at the age of 29 learned to read. Although she married, she and her husband were shortly separated thereafter because Prince’s family moved to England taking her with them. This act turned out to be fortuitous from Prince because following the passage of the Slave Trade Act in 1807, slavery was no longer allowed in England, although the institution of slavery continued in the British colonies. Prince was legally free on British soil, but she had no means to support herself. Under the prevailing rules of the time, if she tried to return home to her husband, she would risk being enslaved again.

In 1829 Prince became the first woman to present a petition to the English Parliament, arguing for her human right to freedom. That same year some of her associates in the anti-slavery abolitionist movement introduced a bill proposing that any West Indian slave brought to England by his or her owners must be freed. While the legislation did not pass, momentum began to shift in favour of the abolitionists' cause. 

Two years later Prince published her autobiography, making her the first black woman to publish a slave narrative in England. Her book played a decisive role in turning British public opinion against the centuries-old institution of human enslavement. Published in 1831, the book caused a sensation, going through three printings in the first year alone. In one of the book’s many heartbreaking passages, Prince recalled being sold “like sheep or cattle” on the same day as her younger sisters Hannah and Dina were sold to different masters.

“When the sale was over, my mother hugged and kissed us, and mourned over us, begging of us to keep up a good heart, and do our duty to our new masters. It was a sad parting; one went one way, one another, and our poor mammy went home with nothing.” 

On August 1, 1838, some 800,000 slaves living in British colonies throughout the Caribbean were finally set free following the passage of Great Britain’s Slavery Abolition Act, which was passed by Parliament two years after the publication of Prince’s book. Not much is known of what happened to Prince in her later years; she may have stayed in England or returned home to the Caribbean.  Despite not having received a formal education, Prince is recognised as a National Hero of Bermuda for her work to abolish slavery. She has been commemorated with a statute and recently a national holiday has been proposed to celebrate her life and achievements.

It always amazes me how Milan can produce collections as diverse as this sophisticated one from No. 21 and more kitsch examples that are regularly shown at houses like Moschino and Versace. Here, designer Alessandro Dell'Acqua showed an elegant take on sensuality. The collection was ladylike with an edge, and while subtlety was key this should not be mistaken for simplicity or a lack of imagination. He featured double-breasted coats slashed with metallics or with unfinished hems, shift dresses with careful pleating and tucks, many of which were layered over trousers. Even the colour palette reinforced the chic, considered vibe.

Stark, utilitarian looks softened by the use of floral printed satin and three-dimensional flower appliqués equals a romanic horror show or a rough amalgamation of two genres. Miuccia Prada's show for Fall was entitled Anatomy of a Romance and it was a direct reflection of her world view today, divided as she sees it between extremes. The models appeared to be styled after Wednesday Addams and Prada used images of Mary Shelley's Frankenstein and his bride on the clothes. Dresses were paired with thick, lug-soled boots and shoes or dainty pumps. Coats were beautifully fitted with elongated patch pockets. She showed off-the-shoulder party dresses in wool with a curvaceous skirts, slouchy black trouser suits and military jackets with lace sleeves and lace cloaks.

The women's side of this line was designed by Veronica Leoni who reinterpreted the Moncler code by  layering materials and shapes including bouclé wools, fishnets, pale tartans, fur, and knits mixed with nylon. These were accessorised with standout bags that were created in collaboration with Valextra.

New girl guiding. This show was all about nature, and Rocha's models strolled through a forest of silver birch trees. As before, Rocha’s collection closely followed her own aesthetic with tent capes, frills and florals in monochromatic colours. The models wore thick soled shoes and the patches on the sleeves were only obvious nod to Moncler. Her balaclavas had pearl embellishment around the opening - proof clothes can be functional and feminine too.

Probably the collection that got the most inches in terms of reporting last season, Pierpaolo Piccioli's previous collaboration with Moncler Genius received an additional boost when one of the looks was worn by Ezra Miller at the French premiere of Fantastic Beasts: Crimes of Grindelwald late last year. Movie stars aside, this season Piccioli sought to maintain this momentum by showing padded gowns with voluminous skirts and hoods. He drafted former model turned designer Liya Kebede to add Ethiopian-inspired colours, patterns and embellishments to the garments creating a collaboration within a collaboration. The result was a striking show and despite the volume and material, the dresses managed a certain grace and elegance that was no doubt helped by the setting. 

A new addition to the Moncler Genius stable, designer of the moment Richard Quinn (remember when the Queen graced his show with her presence?) showed his hyper floral take on the brand's outwear combined with his usual helmet schtick. Some aspects of his London show like the fastenings were repurposed here for continuity. 

One of the more successful collaborations to have come out of Milan recently has been that of Moncler Genius and its coterie of designers, each of whom are tasked with putting their own spin on the company's products. This season, Craig Green showed sleeping bag chic with looks that cycled through the colour wheel. Each piece was two-toned, front and back in complementary colours and like a sleeping bag, each one can be packed away into small, portable cubes. 

We are wrapping up London with a look at a new (to us at least) name, Huishan Zhang who showed a pretty and feminine collection which contained several references to major European design houses. The result? A pretty but not completely derivative collection.

Shrimps' bread and butter remain their accessories, particularly the faux furs and beaded Antonia bag which made their name a few years ago, so it's no surprise to see newer versions of both on the runways for Fall. The fur this time was so light as to mimic the feathers that have proved to be incredibly popular this season. Oversized and floor sweeping in length, designer Hannah Weiland's coats and capes were bright checked or covered in mythological prints of Weiland's own design. Apart from the bags and the fun furs, Weiland has also attempted to diversify into clothing with varying results. Using the Grecian goddess Athena as her muse, she showed ruffled and puff-sleeved satin dresses trimmed with lace, covered with spots all in cheery colours. Belts were raffia sashes with embellished Greek wreath buckles and models wore pearl Alice bands, lace gloves and chunky soled sandals, paired with socks.  

There have been many variations of brown on the runways for Fall 2019; from camel to tobacco to the version found here at Emilia Wickstead - a rich nut brown. We are not convinced that it is the most flattering colour for everyone, but there's no denying its popularity at the moment. Wickstead, who was inspired by Mary Corleone, Sofia Coppola’s character in The Godfather trilogy, interspaced long, masculine coats and suits with pretty floral patterned dresses and bright splashes of colour. She used pleating to great effect on trousers, tops and dresses to create pattern or a lightness of drape from empire waists. The unifying silhouette was one of rounded shoulders and balloon sleeves. We were most fond of the stunning final gowns that managed to be both dramatic and monastic in equal parts.

Fascinated with mystics and the unknown, Erdem Moralioğlu drew inspiration for this show from the story of Princess Orietta Doria Pamphilj, the real-life Roman aristocrat who died in 2000 at the age of 78. Entitled “The Legacy of Inheritance”, the designer imagined the princess’ life shortly after her father died and she inherited his estate in the 1960s. He was curious about the way in which she would have adapted to life in Rome after the relative freedom she would have enjoyed in London. Textiles were the star of the show and Moralioğlu included brocades, lace, and intricate prints. The designer also stuck to the voluminous shapes for which he is best known.

A striking collection from JW Anderson where the models walked on cloud-like carpet on a runway set among skyscrapers which created the impression that they were traipsing through the heavens. Anderson draped with abandon and clothes were cut to ensure maximum flow. There were balloon-sleeved raincoats and caped tweed coats, taffeta bubble dresses styled with oversized gold chokers and a wide black canvas belt. Many models wore black heels to which ribbons of tulle were affixed, all adding to the dreamy, floaty effect.

Sometimes you just want classic pieces that are well made and Margaret Howell satisfies that need in spades with this collection. A modern take on an English country look, she layered sleeveless vests over crisp white shirts and paired them with cropped, wide-legged trousers and skirts that were cinched at the waist. A muted colour palette and lack of embellishment or frippery meant many of the pieces are unisex. Traditional fabrics like cotton drill, corduroy, tweed were deployed wonderfully in a collection that speaks to heritage, craft and utility.

We are falling slightly behind with our review of the shows as usually happens around this time, but we promise to forge ahead with coverage on the weekend and through the week. 

The next show to be featured here is Christopher Kane's. Some fetishise rubber but Kane seems to have taken it in another direction. Transparent, coloured, gel-filled plastic (ruminate on that if you will) in rounded shapes formed bags and collars on the dresses. These were outlined with  crystal diamanté chains which also added sparkle to oversized cardigans and asymmetrical dresses. The fluid-filled touches reminded us of lava lamps or those jelly bracelets we played with as children. The different colours of the container and fluid combined to create a third contrasting colour that was quite fun. Similar amorphous prints could be found on jumpsuits and dresses. 

But rubber was definitely the star of the show and balloons in particular. The rounded shape turned up on skirts, sleeves and frilled layers and more literally as a colourful print, and as slogans on tops.  One coat was entirely made of black rubber and this was also deployed less liberally on lapels, scarves and elbow patches.

Under Christopher Bailey, Burberry tried long and hard to rid itself of its "chav" associations. The collection of 106 looks (although we are only featuring the women's looks here) was aptly entitled "Tempest" given the firestorm one sweatshirt complete with attached noose caused, but more likely in reference to the political storm that is fast approaching and the uncertainty it will bring on all sectors of the British economy including fashion and design.

Nevertheless, Burberry are touting their Britishness proudly in the face of the country's imminent separation from the rest of Europe, and there can be no doubt where their loyalties lie. The house under Riccardo Tisci - who is known for his fondness of streetwear - has decided to embrace, if somewhat tongue in cheek or nosltalgicly, their previous popularity with this 1990s inspired collection. With its greasy, slicked down hair and extravagant baby curls, Tisci showed layered rugby t-shirts with coded anti-establishment references, corseted tops worn over polo shirts (it is the 1990s after all), and a nod to athleisure with tracksuit bottoms. Short slip dresses were covered in embellished buttons that declared their love of London, and there was a definite edge and whiff of street around the collection which looked south of the river for its inspiration. The infamous Burberry check was unapologetically resurrected and placed front and centre of the collection, used on trench coats, jumpers and padded jackets, and dresses. There were gorgeous shearling coats and jackets, track suits, pea coats, fur collars and muffs. Bags were casually slung across the body and worn as harnesses. We loved the duvet-like statement coat in liquid silver. Ostrich feathers made an appearance on short camel coat. 

The streetwear latterly morphed into more sophisticated fare which is generally our preference. Elegant suits, beautiful day dresses and separates (although the colours were to our mind slightly drab) closed the show. Poncho-like capes, coats with wide, sailor collars and lapels, we wished the entire collection could have been this section but clearly Burberry are looking at diversifying their offering in the face of a rather uncertain future for Britain.

Vivid, acid bright, blocked colours from Roksanda Ilinčić and as always there was movement and flow. It seems as though every collection in London has featured feathered details of some sort and Ilinčić's was no exception. Models walked down a sand-covered runway wearing yellow taffeta gowns with feather details (perhaps one of her least effective pieces as it evoked a plucked and naked Big Bird), billowing tiers in mustard stripe or dark camel, a colour that continues to make a strong showing on the runways. We loved the long, trapeze shaped dresses that shone like liquid metal and were topped off with contrasting neck ruffles. 

Ilinčić also showed some wonderful outerwear including silk-printed scarves that were worn over jackets and parkas that were cinched at the waist with a belt.

Victoria Beckham's collections continue to go from strength to strength and gain in popularity. With this her second show held back in her homeland and her family out in force to support her (including her daughter Harper who almost beat Anna Wintour at her own hair game), rumours of the financial problems that have plagued the brand in the last few months were largely forgotten. Instead, Beckham focused on what she does best: chic, flattering clothes that are perfectly suited to the modern woman, with just the right about of interest to keep things from getting boring. Judicious use of windowpane checks on suits and separates, as well as chain prints, pencil skirts and argyle sweaters combined with long, pointed collars and high-waisted flared trousers gave more than a passing nod to 1970s influences. We are seeing a lot of red this season - which is to be expected as it is an autumnal colour - and Beckham uses it both to create an uplifting effect and also as a perfect punctuation to the colour-blocked accessories she showed.


Mary Katrantzou showed Volume with a capital V. With a full, rounded shape similar to the ruffles and feathers we saw at rising star Tomo Koizumi's show in New York last week, the dresses here were heavily beaded and featured a sort of swirling, mystical landscape, a direct reference to the theme of the natural elements - earth, air, fire and water - that were central to this collection. One dress featured scale-like pailettes which shimmered like water, others wore pieces that referenced the parched, cracked earth on coats and boots. The lightness of air was in all probability evoked by the ostrich feather coats and dresses and flames were rendered by the exuberant neck ruffles and asymmetrical ruffled scarves that trailed down the models bodies. Katrantzou also showed wide, shawl-like collars, leggings under skirts.

Simone Rocha, one of our most anticipated shows of the London calendar, did not disappoint. Taking the lines of a Louise Bourgeois poem as a starting point, the clothes in this collection were as intricate as ever. The overarching silhouette was the same: rounded shoulders, full skirts, double-breasted coats and dresses, but Rocha kept things interesting with her use of fabric of different weights and transparencies. She mixed heavier tapestry-like fabrics and embroidery with lighter organza layers, within which could be found spiderwebs, flowers and phallic shapes. One of the major tropes of the collection was her use of underwear as outerwear and cropped bustiers were worn on top of coats, blouses and dresses offering a hint voyeurism. The dichotomy between the fabrics and imagery of the collection reflect Rocha's own conflict with representations of tenderness and sexuality. 

There is a certain amount of exuberance in fashion at the moment which is perfectly encapsulated by this collection from Michael Halpern. 

Some delicious 1970s styling inspired by the legendary Studio 54 nightclub came sauntering down the runway which was housed in the opulent Deco ballroom of a Park Lane hotel. Swaths of draped fabric and beautiful bright patterns were all hallmarks of this collection which was inspired by Erté's illustrations. The eponymous designer showed gloriously sequinned short dresses (sparkle and shine seems to be a persistent trend for the upcoming season) some with asymmetric skirts, voluminous hooded opera coats, richly beaded floor-length halters with crystal chokers, lamé tissue Deco prints cut on the bias, a gold and black embroidered ’20s pyjama suit. Gone was the favoured suit of previous seasons, and instead he showed a silver two-piece consisting of an off-the-shoulder top with matching trousers.

A collection of cozy knits and florals in strong, but limited hues is how this collection can be summed up. 

It is a shift for Lupfer who sought to simplify his line in the hopes that it will generate interest from new quarters. He showed long pleated skirts, ribbed Italian cashmere sweaters, and parka and duffle wool coats made of material from heritage brand AW Hainsworth of West Yorkshire, as well as in leopard faux fur or with faux fur trims. The clothes were accessorised with fur trapper hats and oversized faux fur mittens, fringed scarves, more sweaters, and hiking sneakers. Some embellishment was held over from previous collections including crystal and enamel accoutrements. Lupfer could not get rid of his signature lips either, although they were rendered monochromatically in black-on-black so as to be an unobtrusive as possible. 

There was an overdose of sophistication at Reem Acra this season. While this was not the most breathtaking of her shows, the clothes were stunning nevertheless and, with the Academy Awards fast approaching, well-timed to take advantage of some old-fashioned Hollywood glamour.

Gone for the most part were the favoured floral elements of past seasons and instead Acra embraced a softer version of the militarised looks with Joan of Arc as her muse and inspiration. Beading was used to convey armour: one gold gown had metal spangles that looked as though it was pouring off of the model, while another dress featured a confection of red and blue sequins and had tiny chains strung across it. Separates were few and far between. Although the focus was on gowns and dresses, Acra did show a cropped top with an open back and beaded push-up tanks with corset-style boning.

Always a highly anticipated show, this time Marc Jacobs  can claim his collection to be a real feather in his cap, both literally and figuratively. 

The last few months have seen a renewed interest in the iconic Spring 1993 grunge collection Jacobs designed for Perry Ellis, and there was some thought that he might incorporate a reference into his next collection, but Jacobs veered as far away from flannel as possible instead showing a collection that was refined and elegant and had more in common with that of Tomo Koizumi, the protégé he and his stylist Katie Grand helped launch earlier in the week: volume.

Rounded, dropped shoulders and a wide silhouette helped to mask the natural proportions of the models. While other designers this season have seemed to focus on lines that skim and elongate the body, Jacobs played with proportion and girth. He showed cloth coats and capes, shredded tulle party dresses, A-line skirts and crewnecks. Feathers were used to add heft but maintain lightness. Hats designed by milliner Stephen Jones also had an ornitho theme, and were perched on the top of most models' heads.   

The overall result was a collection that was wearable and pretty which hasn't always been the case.

Jacobs' one reference to that Perry Ellis collection came at the very end when Christy Turlington, who had walked for him all those years ago, closed this show in an off-the-shoulder, nipped in party dress embroidered with glossy feathers. 

Vera Wang has been fixated on a certain type of elongated silhouette for a number of seasons now, and with this collection for Fall 2019, that silhouette shows no sign of losing its popularity with the designer even as she prepares for her 30th anniversary runway show after a two year absence.

That’s not to say that the looks in the collection weren't stunningly beautiful. While black also retained its popularity with the designer, her copious use of plaid marked a clear Celtic influence as did her use of the tonnag - a traditional sash-like garment - that appeared draped or folded. Wang showed precision checked suiting which included trousers overlaid with a pleated or lace aprons. Hints of lace bodysuit were also evident, and we loved the sequinned party dress complete with oversized grey faux-fur coat that revealed a lining of giant silver sequins. Shine on.

Given the season, we guess it’s only to be expected that we are seeing a lot of emphasis on outerwear and this collection from Gabriela Hearst is no exception. Like Tory Burch’s collection, Hearst showed coats with military overtones. Many were double-breasted or cutaway to display the fact that they were lined with quilted fabric.

Her knit dresses and separates were also noteworthy. Hearst was inspired by Russian ballerina Maya Plisetskaya and her influence could be seen in the way the knits clung to the body and revealed a balletic elegance. The dresses were striped and featured vertical ribbing down the body, while the separates mainly consisted of turtlenecks and floor-length skirts. She included a personal touch by including replica Uruguayan coins from the year in which she was born on chain belts or as buttons. Other standout pieces included a gown with delicate pleating and the Grecian-styled one-shouldered gown with woven black nappa leather bustier that closed the show.

This was Hearst's first collection since gaining investment from LVMH’s Luxury Ventures, the arm of the conglomerate launched in 2017 to focus on emerging brands. 

An uneven collection from Self-Portrait. We loved the checked pieces enough to feature the entire collection here, but were less enamoured by the combined lace pieces with the uneven hems that harked back to the original aesthetics of the line. Designer Han Chong offers some streamlined shapes including a simple, one-shouldered jumpsuit trimmed in crystals and tuxedo-style dresses and jumpsuits.  Similar to Greta Constantine's collection, Chong layered shiny, lurex bodysuits and knits under dresses to create a glamorous, yet modest effect.

We love a good pattern and so apparently do the duo behind the popular 90s staple, the velour tracksuit. Pamela Skaist-Levy and Gela Nash-Taylor stuck with their signature coordinated looks (remember how easy it was to get dressed when two pieces were all you had to think about?) and have included every current print trend in this collection namely camouflage, animal print, snakeskin and even a repeated logo in the form of their own interlocking symbol. 

Some of the stripes and patterns come a little too close to that of another Italian brand's, but the easiness of the matching sets from years ago have been updated and modernised. Cropped, boot-legged trousers with button flies or bicycle shorts were combined with fur coats. Only a few dresses in a similar sporty styles were shown: short, tight, high necked with short zippered or buttoned openings. Most looks were paired with pointy-toed, boots but the bags included slouchy drawstring packs, tactile, fur-covered totes and mini waist or cross-body bags.