This season, Bora’s babes are back as per usual. An abundance of lace, frills, mesh, and a truck-load of petticoats graced the front row as journalists, influencers and celebrities clamoured into St Paul’s Church in Covent Garden – an eerily quiet setting in the hustle and bustle of tourist central.
The gothic architecture became a backdrop for Bora’s signature style, which saw pale pink lace juxtaposed with black mesh, captivating the duality of innocence and subversion. Juxtaposing sharp tailoring met soft detailing to create garments that pair metres of sheer pastel fabrics with rich floral embroidery that’s reminiscent of mid-century detailing.
Last season, when we interviewed Bora Aksu backstage, he became teary-eyed when telling us about his mother’s recent passing. This season, the collection pays homage to his mother Birsen Aksu, who designed her own clothing in the 1960s after struggling to find clothes that expressed her individuality in Turkey, where she grew up. It is this pursuit of beauty, this celebration of the female spirit that carries through this collection.
“My whole identity as a designer comes via my mother. Growing up watching her elegance and style as well as her strength as an independent woman instilled in me a deep reverence for femininity and a love for the process of creation, to this day she is my greatest source of inspiration”, said Bora Aksu.
S.S. Daley makes womenswear debut
Steven Stokey-Daley made his first full foray into womenswear this afternoon. The London Fashion Week collection for Stokey-Daley’s label, S.S. Daley, comes hot on the heels of the designer winning the Queen Elizabeth II Award for British Design.
Daley has previously made a name for himself with menswear, he often draws upon historical themes, as well as having a keen eye for tailoring and a sustainable approach to fashion. For his first full womenswear collection, he also looked to the past, taking inspiration from the British artist Gluck, who was born in 1895 and died in 1978.
According to the show notes, Gluck was “known for wearing tailored and utilitarian clothes, yet often painted lovers and friends whose style was femme”. The collection very much followed in this vein.
There were moments of sharp, clean tailoring, such as a navy suit with white piping, wide-legged trousers and a voluminous white collar underneath, or the tweed two-piece with baggy shorts and a structured blazer over the top. These were balanced with softer, more romantic garments, such as semi-sheer skirts, jumpers with lace detailing and a vibrant trench coat with a floral pattern that almost looked to be hand-painted on. Cutting-edge elements included beaded skirts where floral patterns looked pixelated, deconstructed trench coats and the way the garments were made.
