Team Chutzpah reviews LFW. Bodyamr and Spijkers en Spijkers

by Katie on September 19, 2010

“What is love?” enquired Nineties global sampladelic house superstars Deee-Lite as voluptuous Daisy Lowe opened the Bodyamr show, striding out in a low-cut, sleek, cream jersey sheath to a retro party soundtrack.  Bodyamr’s girl definitely knows what love is – and isn’t afraid to show us. 
This was high-octane.  A sexy, almost monochromatic, collection punctuated by jade, cerulean blue, magenta and coral.  The label’s signature draped and  knotted silk jersey gave way to lace, chiffon capes worn with high-waisted silver sequined shorts, and batwing kaftans seemingly designed with Bodyamr fan Florence Welch in mind.  A long, sheer skirt featured a pleated jersey peplum at the hips, shoulders were exposed – make no mistake, this girl is in complete control.  Some details (a prominent zip, a crystal clasp at the waist,) seemed extraneous, whilst a fretboard and leopard skin print in the bold hues previously mentioned screamed “too much”.  However, when reined back, this was a designer at the top of his game, and his celebrity-packed front row was loving it.   The music subtly faded, and a snippet of dialogue from Madonna’s ‘In Bed With…’ film announced former Kanye West squeeze Amber Rose’s arrival onto the catwalk.  The white floor-length skirt and unforgiving printed cap-sleeve T-shirt would’ve overwhelmed a less forceful presence, but Amber worked it for all her worth, encapsulating the Bodyamr girl completely: Strong-minded, sexually confident, and unafraid to take risks.

Spijkers en Spijkers, the Dutch sister-designed label returned to London this season following a brief Milanese sojourn, and their show epitomised the intriguing duality of the twin dynamic.   Youthful yet knowing;  innocent yet seductive; the collection, which used Nick Cave and Kylie Minogue’s ‘Where The Wild Roses Grow’ as a jumping-off point, sailed on a wave of contradictions from start to finish.  Cream linen blend trouser suits featured feminine lace inserts and crystal-encrusted buttons, whilst the masculine tailoring of the jackets emphasised the shoulder.  Panelled shirt dresses mixed patterns and textures, prints and plains, a cut-out below the collar negating any potential starchiness.   Lace, Broderie Anglaise, floral printed crepe de chine, and embellishment (sometimes used in the same piece) might topple over into de trop maximalism in the hands of less talented designers,  yet a restrained colour palette and clever editing meant that, whilst not toeing the line, the collection never crossed over it into bad taste.    A flash of orange was merely that – a flash, and the gloriously-high patent black platform sandals seemed positively demure when offset with natural makeup and loosely flowing Veronica Lake curls.  This was a collection whose commerciality belied its intellectual intentions, and I really quite liked it.
Piece compiled and written by Lee Clatworthy live from LFW.  (S/S ’11)
What do you think of LFW so far?  Please leave a comment in the box below.

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