Front-facing catwalk images from Fashion GPS via Topshop, all others by Park & Cube
Aside from the usual stack of multi-coloured foodstuff/beetroot juices (all made by elves, I swear) inhaled by fashion-folk as their first meal of the day at 2pm, and Arya Stark looking all kinds of fierce/cute in the corner, Topshop had a slightly different take on things this time round. This was the second season- while not consecutive – they’d set up camp at the Tate Modern, and instead of the usual fenced-off/dungeon venue broadcast via narrow fire optics and blurry inta-sight by attendees, whoever that happened to be visiting the Tate that oddly sunny Sunday held, in essence, one of the most highly coveted tickets of LFW. The mezzanine offered a vantage point over the entire catwalk and FROWers, and while show goers did the tennis-ball chase with our respective devices, eyeballs, what have you, over the catwalk, the public saw the collection from the privileged Style.com point of view. While I suspect it wouldn’t have made much sense to a lot of the people that watched (‘can you buy those clothes tomorrow?‘ I heard a girl ask) it was admirable of Topshop to embrace such a straightforward approach to ‘public relations’ that suits a brand that is, at the end of the day, an accessible, high-street brand loved by girls across the UK.
On a separate note, watch me skin a giant teddy bear next fall and wear that over rebellious schoolgirl garbs.
