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J.W. Anderson x Uniqlo collection is here and this is why you should get in quickly

J.W. Anderson x Uniqlo collection is here and this is why you should get in quickly

Classic British clothing might not be words that ring out immediately as synergetic with the Australian lifestyle, but it’s a design ethos we all have hanging in our wardrobes. Trench coats? Yes. Tailored separates? Essentials. Cable knits? What would a cool spring night be without one? Lucky now you can update the gamut with the launch of a collaboration that sees Jonathan Anderson of J.W. Anderson lend his design prowess to Japanese retailer Uniqlo.

“It ended up me kind of, in a weird way, designing for myself for the first time, which I never normally do,” the creative director told Vogue in London a few months ago. This means in place of Anderson’s usual unexpected pastiches for his own label, there are pragmatic and refined classics like extra fine merino wool jumpers, shirting and light weight t-shirts in versatile colour ways.

It came from a thinking that, bombarded with imagery every day in the digital age, it is refreshing to pare back. Hence primary colours sit alongside neutrals in the 33-piece collection. This along with a trademark Anderson break with convention means he envisages the divide - between the men’s and women’s collection - being bridged. “I’m hoping that people are going to go into Uniqlo and they’re going to buy womenswear and buy something else in the men’s.”

Our picks: the holiday-ready striped cotton ruffle skirt, pinstripe pants and outerwear which will be worth the investment. Duffles, herringbone coats and quilted jackets tap into British heritage pieces, something Anderson consciously looked to; wardrobe cornerstones like tailoring and Fair Isle knits touch on bedrock of British design pioneered in Savile Row and Scotland respectively.

This being Anderson though, they’re not with out a modern bent. The Uniqlo puffer gets a rework in blown up proportions and all-over tartan, trenches are reversible while work pants are a relaxed take on the utilitarian piece.

Two reasons you should be one of the first to get to Uniqlo? It’s launched overseas and we’ve already seen the ruffle skirt on the street style set in London, and bags and bags walking out the door from the label’s Oxford Street London store.

The collection is in store today. To read Vogue’s full interview with Jonathan Anderson, pick up a copy of the November issue, on sale Monday.

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Fluffy slippers and fancy Marigolds: how suburban style stole London fashion week

Fluffy slippers and fancy Marigolds: how suburban style stole London fashion week

Afew snapshots from this London fashion week. Christopher Kanebackstage after his show talking about the smell of bleach in his house that accompanies having a new French bulldog puppy, and the frills of the Royal Doulton figurines that his mum used to polish obsessively when he was growing up in Glasgow. Cindy Crawford’s model children, Kaia and Presley Gerber, catwalking at Burberry in check caps past a photography exhibit that included Martin Parr’s 1981 shot of Dubliners hunched under flimsy umbrellas as they battle rush-hour rain. (As an image of fashion in the rain, that shot is about as far from the romantic iconography of the raindrop-dappled, collar-popped Burberry trench as it is possible to imagine.) Plasticky bucket hats at Donatella Versace’s Versus show. The deadpan tones of Neil Tennant singing Pet Shop Boys’ West End Girls, a song that emerged as the unexpected theme tune for the season when it opened both the Burberry and Topshop shows. A skirt and a top made from rough linen tea towels at JW Anderson, frilly cushion-handbags at Mother of Pearl, a silver clutch bag moulded from the shape of a polystyrene kebab box at Anya Hindmarch. Designer Richard Malone cheerfully naming the bright colour palette of his dresses as a homage to supermarket carrier bags: Tesco blue, Co-op turquoise.

This is street style, but not as fashion usually knows it. This is not the peacocking Insta-bait that has become the default uniform of London fashion week, all thousand-pound tracksuits and limited-edition bumbags. This is street as in ground-level, not street in the sense of being the coolest kids on the block. Actual real life, not a performative version of it. And this is different. Because from its beginnings as a breath-of-fresh-air backlash against the stuffiness of the catwalk, the street-style arm of fashion has over the past few years calcified into a bloodless beauty contest driven by cold, hard cash. One survey released on the eve of fashion week estimated that micro-influencers – those with about 10,000 social media followers – can command a fee of £3,000 a post, with many of these posts clustered around the venues and hashtags of fashion week.Fashion is bored with the pretentious modern incarnation of street style. But there is no appetite for a return to the snotty, unreconstructed public face of fashion that went before – identikit front-rowers inscrutable behind sunglasses. Instead, this fashion week reached for something less polished, and more human. Both Christopher Bailey and Donatella Versace, two of the grandest designers on the London schedule this week, talked about having models try on the collection at fittings and being interested in their views on how to put the pieces together. At Topshop, the inspirations were the gritty, radiators-and-all aesthetic of Corinne Day and “the days before Instagram; the fun behind closed doors and neon lights”. Anya Hindmarch built a 3D model of a house for models in housecoats and fluffy slippers – also seen in Muppet brights at Hannah Weiland’s Shrimps – to parade proudly around. After the show, she talked about “the joy in the repetitive beauty of suburbia, the idea that inside these cookie-cutter houses are the most beautiful individual dreams.”

Christopher Kane called his muse for the season “a new kind of domestic goddess”. Kane has always loved the kitsch kick of the banal – lace dresses mimicked piped royal icing, this time around – but also celebrates, in every collection, romance and sex appeal as part of real-life experience rather than as fairytale. Pheromones pack just as much punch in the kebab shop and the minicab office as they do in any VIP room. Everyone knows that; this season, fashion is just telling it like it is. Even the icons of this season are faces recognisable from the TV in your aunt’s house, rather than in-the-know obscure references you have to posily pretend to be obsessed with. Princess Diana is still major (see Ryan Lo’s pussy-bow blouses), as is the Queen – the young version, as played by Claire Foy in The Crown season one – who was a muse to an Erdem show that got everyone even more excited about his forthcoming H&M collaboration. At Christopher Kane, the Queen’s long gloves came in slick patent: half Her Majesty, half Marigold.

The question now is what this real-talk means for our real-life wardrobes. Most hearteningly, it heralds a return to practicality. I can’t remember a fashion week when so many outfits – even party dresses – were styled for the catwalk with a sensible waterproof top layer. Transparent raincoats and practical outerwear, including baseball caps and bucket hats, were on almost every catwalk from Topshop and Burberry to Mary Katrantzou and Emporio Armani. Cardigans – totem of the popping-to-the-shops iconography of British dress – will continue to be a fashion statement next season. (At Erdem, they were worn looped around the shoulders in the manner of a silk scarf.) Molly Goddard, who said her muse for the season was off “to an art gallery, and then for a steak”, put Wellington-flat boots with her party dresses.Pastels are on the way back. There are two very different eras in play, but both come in mint and lemon and pink. There is a 1950s feather-duster femininity with a nod to the young Queen; but there is also a new soft spot for the unsophisticated late-1990s, early-2000s (Liam Gallagher in a Burberry check shirt, Paris Hilton in glittery mules). The former is likely to be big on the more grownup high street, the second will have the cult following. Both eras are big on pastels. After the urbane, self-conscious chic of top-to-toe greige, these have a cheery kind of charm.

In fashion, however, being down-to-earth only stretches so far. The new suburban street style is sexier than fashion has been for several seasons, and bra tops are absolutely everywhere for next season. In other words, the vibe is real-life but with Hadid-level abs. The new skirt suit – a skirt with a matching bra top – came in rustic linen with a matching midi skirt at JW Anderson, or perky and miniskirted at Topshop. Slightly easier to wear is the leotard-tight top tucked into a long pencil skirt. Lingerie-influences – lace-edged camisoles and nightie-flimsy cocktail dresses – were everywhere, but best at Preen, where they came in chic chalky and creamy versions of this season’s pastels. I’m saving for one of those, already. And one of the fluid, easy dresses in coral or fuschia smocked silk at Roksanda – if I can afford it.

“I feel like we live in a time overexposed to imagery of perfection,” designer Roksanda Ilincic said after the show. “I wanted to come back to real life, to clothes that look a little handmade, to a woman dressing to please herself. So I tried to navigate towards something more basic – but to make it beautiful, of course, so with incredible fabrics. So unfortunately, it’s not going to be cheap.” That’s fashion for you: still a fantasy, even when it gets real.

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Armani appeals to fans old and new with London fashion week show

Armani appeals to fans old and new with London fashion week show

It is a classic fashion week power move to stage your show somewhere far away from the central London fashion beat.

But if any designer can pull such a move, it’s Armani. The Italian fashion giant staged his Emporio Armani show on Sunday evening way out in Wapping, in a cavernous Tobacco Dock space.

Armani is known for Milan shows on a grand scale. The first London show for 11 years provided a change in location but the core components remained – rows and rows of seats, slick production and champagne on standby for the afterparty. The show started with playful touches, like the pictures of crab on a vest worn with printed pyjama trousers, and other concessions to the youthful market that Emporio Armani aims at.

The eagle branding on the entrance, on plastic handbags and on T-shirts will be appreciated by a logo-happy generation. There were also what can best be described as Armani-isms: nipped-in jackets in neon green worn with wide trousers, ballroom dancing-style evening dresses in a colour palette of bonbons and pinstripe suiting for the male models. This was a collection with lots of different elements – suiting, sportswear, cocktail dresses, office attire. Perhaps that is the result of the need to tick a lot of boxes.

Even when aiming at new customers, Armani also has to appeal to a long-established fanbase. Nothing is by chance for this carefully curated, immensely successful brand, with revenues of £2.3bn in 2015.

Emporio Armani – the sportier, slightly cheaper end of the Armani worldview – is key to the business after the brand’s recent restructure, streamlining seven different lines into three. This London show is timed to coincide with the relaunch of the Bond Street store, and a new magazine, of which the 83-year-old Giorgio Armani is editor-in-chief.

Before the show, the designer said, through a translator, that “it was fun to do this show to show I can still be part of today’s world”. Asked if it was his role to steer people’s taste, he answered with a shrug: “To say I educate is a bit pretentious but I can suggest an attitude.”

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