The Waldorf Hilton Hotel’s opulent Palm court ballroom, set the stage for the well established Irish designer Paul Costelloe, as he showcased his new A/W collection 2020 during London Fashion Week. Among the array of celebs spotted front row were ; Vogue Williams, Tallia Storm, Egypt, Chloe Lewis, Diana Vickers, Eyal Booker to name a few.
Paul Costelloe’s philosophy and aim was to ‘make life easier on the treadmill of Fashion’, his Autumn/Winter 2020 collection echoed this. And was made with the pre and post sport city individual in mind, those that are health conscience, but with comfort being the main focus. He says that he got the idea for his new collection, as he watched women heading to the gym every morning in London, wearing trainers and other comfortable gear. As the models descended down the steps, and sashayed onto the catwalk to a soundtrack of eighties pop tunes, Paul’s Autumnal athleisure and evening wear collection, showcased classic elegance and comfort. But yet he somehow managed to fuse beauty with sleek, bodysuits and tights. Which created a hybrid of what could be seen as futuristic active wear with the Costelloe timelessness, perfect for any city dweller.
The models were adorned with beaten metal jewellery from uber talented jewellers Liars and Lovers. Following on from the designers ‘sports-luxe’ theme, International Artistic Director Indira Schauwecker and the TONI & GUY Session Team created a ‘wet look’ triple ponytail, with Label M UK gel, guaranteed to last from gym through to a ‘Paul party!’. Make-up by Yin lee and the AOF make-up team using Kevin Aucoin to give that post work out glow. Strong, modern graphic eyes with a metallic gold eyeshadow, dewy, beautiful skin achieved by using Dermalogica skin care range, and pink hued lips. Silver glitter nails with pops of yellow, done by Sophia Stylianou and her team using the brand Peacci.
High tech bodysuits and leggings in in-house designed graphic prints are worn under oversized wool and tweed coats sourced from the Scottish Highlands and the lakes of Como. This is a precision sportswear with a timeless beauty. Colours of ink, latte, antique gold, chocolate, slate greys and bursts of cloud blues are represented in Paul’s masterful genius in textiles, through chunky knitwear, cropped hooded jackets displaying the “Green by Paul Costelloe” logo, high waisted slouch pants and luxe silk and satin blouses. Evening-wear is presented in luxurious silk jacquards worn with beaten metal accessories in silver and gold. Paul Costelloe Bags are created in soft, flexible leathers in the easy weekend, versatile shapes. Paul’s son William, created the graphic prints on the high tech body suits and leggings, which were a counterpoint to his father’s fine tailoring. The printed leggings really stood out, worn with lime green and beige stiletto boots. The colour palette of grey, cornflower blue, fuschia, chartreuse, and brown tones, alongside floral, and water colour print, and plaids, all beautiful contrasts, with the odd splash of yellow, amongst the otherwise muted palette were reminiscent of the British weather.
Only Paul Costelloe could mix tailoring with streetwear so effortlessly; the elongated bell sleeves, various silhouettes, bold prints, day to night pieces, mix of chunky and tight fitting, fluid floaty dresses, all tied together are a luxe vibe. He seems to have mastered this marriage of athleisure and tailored couture, and ran down the aisle with it. This collection is one of beautiful brilliance, Paul Costelloe has taken what’s on trend and made it into fashion. “The collection represents today’s ethos of buy less and invest in the pieces that you love…. A legacy for your future!” – Paul Costelloe By Li Thane-Kitson
South Korean born designer Eudon Choi, initially trained as a menswear designer in Seoul, where he acquired an in-depth knowledge of tailoring techniques. Eudon as he enters his fifth year, is one of very few designers who possesses the ability to translate his strong background in menswear into womenswear, and for his Autumn/Winter 2017 collection he managed to achieve this effortlessly, with his designs this upcoming season being very utilitarian while exploring sartorial silhouettes and fusing it with crisp tailoring, yet Eudon still managed to keep his signature feminine sensibility.
His AW17 collection, was inspired by the work of Adolf Loos, who was an Austrian and Czech architect and influential European theorist of modern architecture and a pioneer of the modernist movement. Eudon Choi’s collection commanded the attention of everyone watching on as the models sashayed down the runway to the sound of the perfectly timed cow bell and drum fused music. The collection focuses on Loos’ ethos for the elimination of adornment and captures his minimalist attitudes towards design.
Eudon paid homage to the work of the architect Adolf Loos who was a significant theorist of modern architecture. Loos’ essay ‘Ornament and Crime’ explored the idea of the deletion of ornament from everyday objects. Choi finds inspiration in Loos’ writing and translates this into clothing. He replicates plush interiors and sharp exteriors in his use of luxurious fabric and lavish fastenings, combined with the precise lines of his tailoring that he is well known for. Eudon took the words of a man who believed creating something just for the sake of ornamental purposes was a crime, and translated it into wearable designs, to grace us later this year.
The chosen colour palette was so calming and complimented the surroundings beautifully. It was quite muted with neutral tones at the forefront, with the odd deliberate vibrant piece, the use of orange and cornflower blue complimented the use of grey and khaki which was consistent in the collection as a whole, the use of pinstripes made it all so work-ready while editorial at the same time. The use of silk and shift dressed added a softness to the more structured pieces.
Eudon’s purposeful draping of knitwear worn half on over the shoulder, oversized pieces and puffer jackets that rested on one side of the body added another dimension to the show that was simply genius, adding softness in the right places. Layering was a reminiscent feature with this collection, which requires the right dose of creativity and style, that I believe takes a true creative to really know how to ty an outfit together, and it’s evident that Eudon has achieved this time and time again. His use of trainers to go with each look just perfectly accompanied the collection, I could envision professionals on the commute with their heels safely encased in their city bag. Every obviously detail deliberate yet was executed so effortlessly. Eudon is known for his attention to detail.
The power of fabric rang true as Eudon made the collection showcase his mastery of capturing movement in stiff fabrics through tailoring and creating flattering silhouettes from oversized pieces that drape across the body, and over-sized turtle necks, and puffed sleeves, showing proportion and celebrating it rather than completely disguising it. He is hands down one of the best designers out there when it comes to making crisp cottons look cool and wearable. He took every day work-ready/city professional pieces and gave them a new purpose, dare I say a new lust for life.
This season Eudon Choi has joined forces with global bag brand Decke to debut a range directly inspired by the ‘Villa Müller’, one of Loos’ most iconic works. The quality of the leather and unique hardware show a definite comparison to the fittings and fixtures within the Müller home. The collaboration encapsulates both the classic elegance of Decke and Choi’s refined attitude.
Each of the looks were paired with simple, clean scraped back ponytails, with each model wearing barely there make-up and a bold burnt orange lip, and deliberate bushy brows, tying each look together as Eudon Choi translated Adolf Loo’s essay of Ornament and Crime, the elegance of simplicity, simply!
Rohmir’s Vienne Imperiale collection was said to be a celebration of the opera glamour of the eternal imperial style of the beautiful city. Rohmir are known for their collections being a plethora of feminine, eloquent dresses and tailored suits. Vienne Imperiale, lived up to its upper class name with an opulent line up that made expert use of texture and varied fabrics. Which is no surprise, considering that founder and designer Olga Roh hails from Russian nobility. Both a former model and academic, with a PhD from the University of Bern, she has brains as well as beauty, combining a love of glamour with an acute business sense.
Italian influences are a key and running concept throughout this collection. The colour palette used this season, was as regal as the silhouettes, emerald greens, ruby reds, black and gold. By using the softest faux fur, lace and velvet detailed with statement brooches and bold necklaces. Dresses appeared in elegant oxblood and bottle green but it was shades of black with regal gold detail that dominated. Lace trousers matched with sheer and gold tipped velvet capes delivered the drama, European style.
The models hair was plaited then pinned into a traditional style, embellished with pearls, then intricately twisted into a regal up-do, again highlighting the almost princess-esque nature of the collection and the plait adorned their heads almost like a tiara, while the make-up was kept rather neutral, with bold brows with a pink stained lip and dark, smoky eyes and false lashes. The epitome of Italian glamour.
Backstage ahead of the show, the buzz was euphoric, there’s so much stigma with models looking moody and being underweight, but these models were smiling, laughing and joking, it was a delightful atmosphere to be a part of, and they all looked truly radiant and of a healthy weight.
Olga herself was beaming and so full of energy and very down to earth, even seemingly looking very relaxed. The catwalk was flawless and the pieces dripped elegance and sophistication. The live opera performance added an air of emotive grace to the show, and Olga’s daughter closed the show alongside the Opera, which received a well-deserved standing ovation for the collection and the performance alike.
The show entitled ‘Vienne Imperiale’ boasted ideas of grandeur from the outset and it was safe to say, that the show did not disappoint. The slow and sultry affair was as grand and as exquisite as promised from the title. Models slowly glided down the catwalk, rather than walk, to the soothing rhythm of the orchestral music and live opera singer. This is Vienna no compromises made.