Edward Crutchley is growing up and turning his attention to formalwear.

There was a real sense of classicism and old-school elegance in his fall outing, which was filled with sleek, tailored looks for men and women.

Loosely tailored pinstripe pants were matched with luxe cashmere knits and layered under swishing three-button coats; wool pants were embellished with zips, and draped pencil skirts were worn with matching blazers.

“It’s really a move away from sportswear. It’s the first time I haven’t used any nylon or cotton, everything is viscose, silk, wool, or cashmere,” said Crutchley backstage. “In general dressing up is much more exciting, for me.”

His newfound love for all things dress-up led Crutchley to add a healthy dose of drama and shine to the collection, from the maxi velvet capes to silk robes, Lurex tops and pillow box hats, created alongside Stephen Jones.

He also showed that he can flex his muscle beyond his signature patterns and prints. Pattern was much more subtle here, and came in the form of silk printed pajamas, printed shirts and a metallic jacquard dress.

Formality definitely suits Crutchley and it proved to be a much-needed antidote to the mass casualization of dress codes. He made it his own by adding a little humor and subversion to the mix, from a cape that featured a fur-embroidered pattern of a bird attacking a snake to a pair of duck slippers that accessorized the suits at the finalé.

“As much as I talk about elegance and severity, you need something to lift you,” added the designer.

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