There are a few things different about this season’s London Fashion Week – the most prominent of which being the week’s events falling within the UK’s period of national mourning following the death of The Queen. Causing the schedule to be reworked, this has meant the postponement or cancellation of some of the week’s biggest names, as well as the complete cancellation of the many parties, events or soirees that fashion week usually plays host to – in light of their staging being interpreted as potentially disrespectful.
However, since the announcement, a lot of London’s designers have rallied together to make sure shows still go ahead: choosing to stage their show either as planned or paired back citing financial, personal and logistical reasons for doing so. Because of this, the schedule is still relatively padded out in London – but the absence of the capital’s usual fashion week nightlife is undoubtedly being felt in this unique time.
That’s where Poster Girl comes in – presenting the closest thing London Fashion Week is getting to a party. Showing on the first day of London Fashion Week, the London-based designer duo consisting of Francesca Capper and Natasha Sommerville brought the energy with a collection which was simply described as Sexy. Outrageous. Bold.
The brand has enjoyed virality in recent years thanks to its signature mini dresses that have been seen on and offline: tight, plenty of cut-outs, and in every neon iteration imaginable. At one point, they seemed to stock the entire Love Island wardrobe as well as populate the majority of our social media feeds, eventually giving rise to inevitable dupes.
That being said, for this season, it would’ve been easy to stick to this winning formula – but yesterday Poster Girl pushed beyond its already-glowing reputation to deliver an even more sensual and exciting collection than we’ve seen from the brand before – driven by nostalgia and femininity at its core.
From flesh-coloured latex ruffles to barely-there mini skirt sets, the pieces were made for the dancefloors, catwalks and parties of the world. Giving a masterclass in the best elements of the Y2K fashion wave, the collection featured rhinestones and hardware which contrasted with the ultra-femme draping, chiffons and lacquered lace – and we even saw a glimpse of the now signature poster girl chainmail.
The designers also introduced denim to their offerings with this collection – debuting iridescent jeans and corsets. We also saw the visual language of sensuality: latex, lace and fishnet. The return of the brand’s heart crystal buttons featured in the core shapewear styles has expanded to include leather and chiffon looks, with heart metal eyelets making space for seams and skirt splits – there was no stone, or detail left unturned.
Set to pounding beats which made even the clinically-white catwalk space come alive, and an iconic FROW which included Bimini, Awhora and the Clermont Twins to name just a few, Poster Girl’s show proved there could still be a place for celebration in a period of countrywide mourning – and that sex never goes out of fashion.
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