London Fashion Week
spring 2013
Lisa Armstrong on Preen’s triumphant return to London Fashion Week, the changes ahead at Nicole Farhi and Matthew Williamson’s youthful turn.
It takes a lot to survive as a designer: a little thing like labour can’t be allowed to get in the way of an important date. “I felt twinges late last night,” said nine and half months pregnant Thea Bregazzi after the Preen show at 9am (and yes, it was on time). “I thought, no, not now. It’s not allowed”.
The show went on and it was a hit, although Bregazzi’s husband, Justin Thornton, who co-designs the collection, kept a watchful eye on his wife. This is the duo’s first show inLondon after five years in New York and it crackled with originality; patchwork dresses or trouser suits were composed of python, shiny patches and traditional suit fabrics. Slashed pencil skirts were layered over long contrasting shirts to get around that knotty problem of the knicker-flash. There were lovely navy, diaphanous printed dresses too, many of which turned out to be separate shirts and skirts. It sounds overwrought. It wasn’t. That’s their brilliance.
It’s hard to believe Preen, which began life in a small shop off London’s Portobello Road, is eleven years old. London’s faiblesse is its twin obsessions with youth and novelty which mean older designers are often neglected.
Nicole Farhi’s label was founded 30 years ago. Yet despite establishing a name that’s familiar way beyond a narrow band of insiders, it was sold two years ago to venture capitalists for a modest £5 million, having lost £5.6 million the previous year.
Superficially, it’s hard to see why this label isn’t as commercially successful as its fame would suggest. Farhi has always understood what stylish women – not just knitting-needle thin fashionistas – want to wear. Gently flowing – but not voluminous shapes – in muted, versatile shades, and understated luxury details. Today’s collection, watched by Bill Nighy, his wife Diana Quick and his close friend Anna Wintour, was full of the slouchy trouser suits, soft pleated skirts and dresses and pre-crumpled, light trenches that we could all use. One can only assume that management has previously prevented this being a commercial leviathan. Farhi, 65, is taking a back seat soon and Joanna Sykes will become creative director. Sykes has a great knack for turning out sharp but easy separates: if the Farhi label doesn’t rocket, it won’t be the designer’s fault.
Matthew Williamson celebrated 15 years in business with a show (below) conceived to please his regulars – rich international socialites who want to look like Sienna Miller, but glossier. Tiny dresses with big mirrored embellishment, silk blouses adorned with prints of Tibetan temples and worn with sky blue capri pants, woven and jewelled bags – these won’t be cheap. “It’s what the customers want,” he said. “I already know the bestselling dress and it will cost £3,500″.
