Latest news with #Completedworks
The Independent
22-02-2025
- Entertainment
- The Independent
Paint it black: London Fashion Week's designers reflect dystopic doom with distinct lack of colour
London Fashion Week has a way of holding up a mirror to the state of the world. More so than the adjacent counterparts in New York, Milan and Paris, which are defined by established designers, here it has always been about emerging talents who are, by their nature, more susceptible to societal and political instabilities. Whether it's Brexit, supply chain disruptions, or the cost of living crisis, these issues force a response from young designers because they cause such a direct impact they cannot be ignored. This season, we've seen this tension play out more potently than ever before, with a string of notable absences on the schedule. Gone are the usual big hitters – and celebrity favourites – like JW Anderson, Molly Goddard, Nensi Dojaka, Chopova Lowena, and 16Arlington, who this season has forgone a traditional show format by way of an intimate dinner where guests will wear the new collection. Instead, the lineup feels more pared down than ever, as designers reassess how to present their new collections in response to financial challenges that have prompted a major rethink. Put the money stuff aside, though, and there's hardly a dearth of concern elsewhere in the world – lest we forget, this marks the first LFW under a second Trump presidency. Cue a total wipeout of diversity and inclusion policies as well as a crackdown on immigration, sending a very loud and hostile message to communities that have always been integral to the fashion industry. Perhaps it was no surprise, then, that the resounding trend from the runways so far can be best described as back to black. The colour, or lack thereof, was simply inescapable. The tone was set at Harris Reed with a collection titled 'Gilded' that was mostly made up of black sculptural gowns featuring mere flashes of gold and blue. The naked dress saw a reinvention by way of a birdcage that encased and entrapped the model's near-nude body underneath. Other pieces were more armour-inspired, with Florence Pugh opening the show in a black gown fitted with tall spikes that shielded her face on either side. 'With a sense of the world in turmoil, Reed was drawn to punk references, finding inspiration in the counterculture of rebellion and individual freedom,' the show notes explained. At jewellery and ceramics brand Completedworks, Entourage star Debi Mazar performed a QVC-inspired skit, playing the role of a frazzled, unhappy woman who, while entertaining ('god I need to take a piss [...] in the 80s I pissed twice a month!') was the perfect avatar to mask a lingering sense of despair. An interior monologue ricocheted from lamenting how young people 'don't smoke, drink or f***' to contemplating how she might murder someone. The mood was peppier over at S.S. Daley, the zeitgeisty Harry Styles-backed label that is now sold in John Lewis. A celebration of British style at its core, the collection was outerwear focused, with checked trenches, jacquard bomber jackets and puffer jackets with corduroy collars. While full of colour, black pervaded throughout: many of the models walked the runway with a single black feather tucked into their chests, while one of the standout pieces was a black puffball skirt worn with nothing but a matching blazer. Even at Bora Aksu, whose designs are usually defined by girlish joy and euphoria, a more sober mood was afoot, quite literally. The models wore mostly black laced ankle boots and the typical paintbox frothy frocks were largely absent. In their place? Black and navy polka-dotted smocks inspired by the subversive but deeply troubled Empress Elisabeth of Austria, whose 19th century aesthetic was imagined by way of several dark pieces, ranging from netted veils and skirts to velvet gloves and lace trims. Even when colour made an appearance, it did so with flourishes of black in skirts, sleeves and ribbons. Even the models' hair, which was unusually and intentionally frizzed, alluded to the possibility that something less put-together and more melancholic might be looming. Richard Quinn tapped into this too, setting his show within the context of a gloomy, snow-covered London street. Framed by tall lampposts and with actual snow falling from the ceiling, the runway saw models glide slowly through the frost to the sorrowful orchestral sounds. The first portion of the collection was almost exclusively black, whether it was an elegant full-skirted brocade gown, an upscale velvet bodice, or even a ribbon-covered netted T-shirt dress, black was everywhere to be seen. Not to mention the tights, ribbons, and long velvet gloves worn by most of the models. But the latter half of the collection saw a tonal shift. The tights were suddenly white, the music was brighter and more upbeat. What had previously looked like a very glamorous funeral procession became more of a bountiful floral celebration filled with shades of scarlet, purple and mint green – one floor-length velvet gown was fitted with three-dimensional roses on the neckline. For the final few looks, Quinn turned full bridal, spotlighting a stream of stunning stiff silk pieces in a range of silhouettes – think mesh fishtails, mini dresses, and layers upon layers of tulle. Quinn's optimism concluded the show with a joyous finale, playing out to 'Always on My Mind' by Pet Shop Boys, which transported the entire tiered audience to a nostalgia-fulled rave. Looking at the snow-covered runway and seeing the models come together, many with snowflakes clinging to their eyelashes, served as a much-needed reminder that, although times of turmoil are challenging, they do eventually pass. Because even in the depths of despair, creativity never flounders. It flourishes.
The Guardian
21-02-2025
- Entertainment
- The Guardian
‘There's a bit of a damp spirit': London fashion week opens to hard truths
Beneath the glitter and sequins and extra-long false eyelashes, the bald truth at London fashion week is of an industry overshadowed by the luxury might of Europe and the US. Many designers have closed their doors, or cannot afford to splash out on a show. At just four days long, London fashion week has shrunk to half the duration of the Paris shows. Cash is in short supply, but ambition and creativity are not. At SS Daley, the Harry Styles-backed brand whose trench coats are now sold at John Lewis, the show opened with the sound of Big Ben, included 'Stay Faithfull to Marianne' sweaters in tribute to the late British style icon, and closed with a general clamour for selfies with front row guest of honour, the Amandaland actor Lucy Punch. Actor Debi Mazar took the stage for jewellery brand Completedworks, playing a television shopping channel hostess on the verge of a nervous breakdown, hawking the 'mermaid realness' of pearl earrings while sipping a martini. At the Tate Modern, Florence Pugh opened Harris Reed's show with a monologue in praise of 'the art of dressing up'. British fashion still has status on the world stage, leveraging soft power as a revered incubator of superstar designers. London fashion week retains a strong sense of national pride accordingly, tempered with a very British dose of self-deprecation and humour. The recent high-profile appointments of Sarah Burton to Givenchy, Peter Copping to Lanvin in Paris and Louise Trotter at Bottega Veneta in Milan attest to British creatives as a highly prized resource. Steven Stokey-Daley, designer of SS Daley, made a last-minute decision to join the schedule after plans for a show in Paris last month fell through. 'There is a bit of a damp spirit, an empty feeling, to the London schedule at the moment,' admitted the designer before his show. 'The data does show that London doesn't get the same attention [as other fashion cities], so there has been a feeling of designers evacuating a bit. But London has always been good to us, and we thought it would be nice to do something to help bring buzz.' Daley still plans to show in Paris soon. 'Romantically, I love London, and we are very much about British culture. But a lot of our most important buyers don't come to London.' A recent report by Lefty, which tracks the impact of influencer coverage on brands, reported the Earned Media Value of last September's London fashion week at $20.9m, compared with $132m for New York, $250m for Milan and $437m for Paris. The latest SS Daley collection was a celebration of the classic British coat rack, with duffle coats, donkey jackets and trench coats. 'I was interested in the political ties of the donkey jacket – of who wore that in Britain, in the 1970s and 1980s,' said the designer. The elegant trench coats tipped a hat to Burberry, London's one remaining luxury house, where Daley's name has been mentioned as a future designer. For Anna Jewsbury, designer of Completedworks jewellery, the incongruity of using a catwalk to show jewellery rather than clothes is exactly the point. 'No one expects to see an accessories designer doing a fashion show. It is a way to show people that we have a point of view, a sense of humour, that is a bit different from what other brands are doing,' she said. She joined the ranks of London fashion week designers last year 'partly out of naivety – I had no idea how stressful a show would be, or the resources it would take up. But it's such a thrill.' Some designers are cutting costs by choosing to sit out alternate fashion weeks, showing just once a year. The fashion system of having a new look each September and March, which once tied the industry to biannual shows, has fallen away in favour of a more fluid era of vibes and microtrends. Conner Ives is one of the designers choosing to show annually, returning this weekend with a show in the Beaufort Bar of the Savoy hotel, based on the 1979 Bob Fosse musical All That Jazz.
USA Today
06-02-2025
- Lifestyle
- USA Today
Check out the new Merit Beauty x Completedworks jewelry for a super chic Valentine's Day gift
— Recommendations are independently chosen by our editors. Purchases you make through our links may earn us and our publishing partners a commission. Merit Beauty teamed up with London-based Completedworks jewelry brand to create a classic collection of stud earrings, drop earrings and a special compact mirror just in time for Valentine's Day 2025. This new collab blends timeless elegance with modern sophistication, staying true to Merit Beauty's core values. The Organic Gold Vermeil Studs and the Organic Silver Pearl Drop Earrings have been thoughtfully designed to elevate your style effortlessly. To make this exciting launch even more enticing, Merit Beauty is offering a free Merit x Completedworks Compact Mirror with all purchases of $125 or more. The chic compact mirror is the perfect accessory for on-the-go makeup touch-ups and adds a bit of luxury to your beauty routine. Shop the new launches and some of Merit Beauty's most popular products below. Merit Beauty x Completedworks The Organic Gold Vermeil Studs Merit Beauty x Completedworks The Organic Gold Vermeil Studs Get these limited-edition gold stud earrings just in time for Valentine's Day 2025. Get these limited-edition gold stud earrings just in time for Valentine's Day 2025. $189 at Merit Beauty Material: Made from high-quality gold vermeil, these studs offer a luxurious finish that is both durable and beautiful. Made from high-quality gold vermeil, these studs offer a luxurious finish that is both durable and beautiful. Design: The organic shape of the studs adds a touch of nature-inspired elegance to any outfit. The organic shape of the studs adds a touch of nature-inspired elegance to any outfit. Versatility: Perfect for both casual and formal occasions, these studs are a must-have addition to your jewelry collection. Perfect for both casual and formal occasions, these studs are a must-have addition to your jewelry collection. 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