It’s a given that Burberry is one of the most anticipated (if not, the most) shows every season during London Fashion Week, making it a definite highlight of the trade event in the fashion capital.

Making its comeback for the second time, the Makers House practically serves as a ‘re-see’ of the AW2017 collection that was just shown for the public to have a closer look at the clothes. It also showcases the work of the iconic artist, Richard Moore, whose sculptures are placed around the venue and which reflects the structural pieces from the collection such as the knits and some pieces which have a slight abstract form that would make you take a second glance to understand what the look is about, say, the off-shoulder knits paired with crisp white shirts with longer-than-usual-but-still-stylish sleeves. I’ve also been in here last time when they first introduced this idea. Except last time, SS2017, was a different concept and inspiration which was Virginia Woolf’s “Orlando”. The pieces were more about silky and airy looks with vibrant prints and colours with similar silhouettes from this season while the dominant silhouettes this season are more structured and monolithic all throughout.

Burberry is one of the pioneers to follow the see-now-buy-now model. I don’t think there’s a right or wrong answer when it comes to discussing this hot topic happening in the fashion industry as it is debatable when you look at it from different perspectives. Looking from my point of view as a consumer, if I see something that I want – and I mean something that I badly want that I couldn’t live another day without having it, I would buy it then and there, no questions asked; and the money that I would use to buy that particular item I was eyeing on would mean a contribution to the return-on-investment for the business so it’s kinda like a win-win situation on both sides. But still, some individuals disagree with it because it ‘disrupts’ the flow of the fashion industry and is an unorthodox business model. It’s like being treated as a spoiled child; being given everything that you want in an instant and not ‘working hard’ instead to get it. I know right, whatever happened to the waiting for a couple more months to see the new season’s collections on racks and shelves?

But hey, at the end of the day, business is business and to make one stand out, one must always be different. That’s what I liked about Christopher Bailey’s business mindedness; the other day I was thinking, what if I had to choose a fashion husband…who would it be? Initially I was thinking of, Jonathan Anderson of J.W.Anderson and Loewe’s creative director because how much creative juice can you squeeze out of your brain for 2 established brands??? It requires a lot of inspiration but not to the point where you get inspiration from everything. That spells d-e-s-p-e-r-a-t-i-o-n. But then I thought of Christopher Bailey…as the CEO and chief creative director of an established heritage brand that many Brits are proud of, how can you juggle the creative and business ideas? Of course, organisation is a cliché thing given with that kind of responsibility. It reminded me of the days when I was studying game design wherein I have to think of maths, programming languages, numbers and the like, together with artistic concepts, user experiences, how it would appeal to a target audience, gameplay, etc. – it was so difficult!! I LOVE both JWA and Christopher Bailey but I’ll have to give it to the latter.

While going through the collection, I noticed not one but two familiar faces. Two of the people I see often when I watch fashion shows and reviews; then I figured out that it was THE Christopher Bailey being interviewed by Tim Blanks. I told myself I have to have a photo with people who I rarely see! *fingers crossed to hoping to see them more often one day when my dreams of becoming a FRow regular is fulfilled lol*


The show was strong and striking with all of the looks that were presented; there was also a shoe that seemed like a straight homage to the collection’s inspiration due to the sculptural heel it has. Romantic silhouettes shown through laces and ruffles are a Burberry signature and it doesn’t lose the poetic feel of the whole collection with the whole Victorian vibes it exhumes. The finale was phenomenal, probably the best out of all the finales I’ve seen this season. Think of a typical Dolce & Gabbana finale with models sent out in uniform high octane sequinned pieces (though, Dolce’s is always expected), but grander, with capes as their uniforms, and definitely screams British. A battalion of caped crusaders unexpectedly were sent down to grace everyone with what was covering their initial looks they were wearing moments before. Each cape was just as breathtaking as the next, having a wide variation of silhouettes. I liked wearing capes when I first moved to London, at some point I stopped, but now that Burberry introduced it back, my capes and ponchos will be overjoyed for I will be wearing them on the last days of winter. I honestly cannot think of any more superlative word for how excellent this show was, I’m not even lying. The intricately crafted capes were made from different materials such as pearls, feathers, crystals and a lot more, which all had several things written all over them: opulence, regality, magnificence, luxury, royalty, Burberry.

Watch the Burberry February Autumn/Winter 2017 runway show below:

Photos taken at Burberry Makers House, 21 February 2017

Ciao for now!




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