4 PM, Lueder, NewGen Catwalk Space, 180 Strand
Today, I’m accompanied by Laura Weir as we admire the iconic London DJ Princess Julia, striking a pose for photographers atop a white-clothed runway laid out with a scattered collection of dinner remnants and half-empty glasses of red wine; it’s akin to a modern reinterpretation of the Last Supper, but infused with Hackney’s distinctive flair. We’re attending the Lueder show on the Saturday of London Fashion Week, marking a milestone as the first show under Weir’s leadership, having taken the helm as CEO of the British Fashion Council (BFC) in April.
Having just experienced another captivating showcase by Berlin-London designer Marie Lueder, whose fresh interpretations of club culture are on full display, it is hard not to be taken by the energy. Julia, present among a select group of invitees seated along the dinner-party-styled table runway, embodies the essence of Lueder’s provocative style. The collection, featuring cocooning hoodies, utilitarian-inspired trousers, and whimsical curled-toe booties, drew parallels to a ravishing Rumpelstiltskin. A fellow journalist aptly described Lueder’s work as being part of the underground “dirty” fashion movement, which will star in a forthcoming exhibition at the Barbican Centre titled Dirty Looks: Desire and Decay In Fashion, set to open September 25th. Weir finds resonance in this vibe, remarking, “It felt like a scene crafted in the woods after a night of raving. Marie captures the signifiers beautifully, creating a rich cultural lexicon.” The show exemplified the intrinsic connection between runway and street style, a feat that London continues to excel at, outperforming all other fashion capitals.
It’s my first encounter with a Lueder show, despite her two-year tenure in the NewGen program that supports promising talent. “I’ve heard nothing but praise about her work,” Weir tells me. “I appreciate how she has creatively leveraged the Pull&Bear collaboration. NewGen not only provides financial backing to designers, but it offers valuable insights into commercial operations when partnered with established retailers. I hope this collaboration positions them for long-term success. The financial support is invaluable, and a significant part of my strategy moving forward is about harnessing that to fuel creativity while also fostering sustainable business models.
Weir’s vision becomes evident: to harmonize creativity, craftsmanship, culture, and commercial viability. With an illustrious background at British Vogue, ES magazine, and Selfridges, she is on a mission to invigorate London Fashion Week and the broader British fashion industry in a post-COVID and post-Brexit landscape. Amid the looming dominance of global conglomerates, the challenges for independent designers are greater than ever.
Earlier this year, Weir rolled out an ambitious rejuvenation plan for London Fashion Week, and throughout these first few days of the event, her presence has been unmistakable. Not only is she gearing up to attend around 39 shows this season, she has also been engaged in a parliamentary debate concerning the future of London Fashion Week led by Labour MP Rosie Wrighting, a former ASOS buyer. Just last night, she co-hosted a dinner featuring Jonathan Anderson, who is currently reinvigorating his JW Anderson label while also embarking on the monumental task of reinventing Dior.
As we’re ushered out of the venue and make our way to the Roksanda show, Weir reflects on how Lueder’s presentation reminded her of another show she attended earlier that day—YAKU, designed by Yaku Stapleton. Encouraged by my colleague Sarah Mower a year prior, I had the privilege to see his extraordinary work. Weir mentions, “YAKU’s presentation transported us to a meeting point of ancestors, intertwining origins with the contemporary, offering a poignant performance piece. This season, I’ve observed a notable surge in world-building; it sparks so many ideas around our interconnectedness within the broader cultural and creative industries. I’m keen on developing collaborations with film and the arts; and there’s potential for dance to play a significant role in our designers’ creative expressions, especially in terms of costuming.”
5 PM, Roksanda, The Chancery Rosewood
Upon arriving at Roksanda’s show, we’re met with a front row that epitomizes the interdisciplinary dialogue, showcasing attendees like Marina Abramović, Joely Richardson, Juergen Teller, Lashana Lynch, Stephen Jones, and Afua Hirsch—all gathered to commemorate the two-decade legacy of this influential designer, a true beacon of artistic and conceptual glamour in London fashion. With the show about to commence, Weir and I delve into the complexities and responsibilities of overseeing such a transformative role at the BFC.
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