By Avril Groom
A mood of optimism and British pride prevails – surprisingly considering designers’ natural opposite to Brexit and their interdependence on Europe. Colour explodes on the catwalks, starting with Nicoll blue, the calm shade that Pantone created in memory of designer Richard Nicoll, who died last year. Saturated-colour velvets at Peter Pilotto, vivid (and delicate) tulle at Molly Goddard, every subtle shade of red, orange and terracotta at Roksanda, bright brocades and iridescent metallics at Christopher Kane, royal blue and lime green glitter at Osman.
Asymmetrical cutting, with hems layered and angled every which way, on shirts at Palmer Harding, skirts ast JW Anderson, on embroidered coats at Erdem on everything at Henry Moore-inspired Burberry and softly at Mulberry.
Very British country house nostalgia, with a modern twist of darkness – oversized tweeds at Mulberry, tweed patched into rich velvets at Mary Katrantzou, androgynous at Margaret Howell, ball skirts with big knits at Temperley, languid 1930s-style dresses (Simone Rocha) or sequin jumpsuits (Temperley).
Knitwear is huge and embellished – shredded and layered at Matty Bovan, artily embroidered and fringed at Peter Pilotto, braided, knotted and rug-looped at Burberry, with huge sequins at Ports 1961.
Quilting – a surprise but universal trend. Wrap up in a printed eiderdown at Preen, quilt a cape at Mulberry or a brocade coat at Antonio Berardi, make it a sleeve or big pocket at Peter Pilotto or a warm yet flattering dress at Temperley. Global warming is plainly not a designer issue.