Edward Crutchley Rewires the Historic Ties That Bind
Review of Edward Crutchley Fall 2024 Fashion Show
By Angela Baidoo
THE COLLECTION
THE VIBE
THE THEME
It can be tempting to take historic references literally, by simply updating an 18th century dress for today, but it is always indicative of those designers who have carved out (often precious and sacrificed) time to research and immerse themselves in the more unknown aspects of an indigenous community, read up on the exploits of a mythological Greek god (Dionysus in the case of this collection), or scoured vintage markets for tapestries that can weave a new tale in 2024.
Speaking with The Impression Edward Crutchley narrowed down his inspiration for today’s outing revealing “This collection is about material culture. It’s about textiles. There are a wide range of influences; from English smock to Dayak raffia weaving via Byzantium.” And in taking material culture in the form of a double meaning we can see how medieval textiles are a through line to Crutchley’s previous collections but also a reference to consumerism today. So we are not so different from our ancestors after all.
Interspersing shades of history with “archetypically metropolitan shapes” as stated in the shownotes, the exaggerated nature of the silhouettes – a number of models could barely fit through the aisles – brought back the power shoulder and then-some, developed with fibreglass shoulder pads, it spoke to the designers desire to confront the way in which clothes are often only viewed in 2D, and often on screens. But they were also included as a reference to Tudor Sumptuary laws, laws which were established to “restrict excessive personal expenditures in the interest of preventing extravagance and luxury” according to Brittanica, putting in place restrictions to curtail extravagance on moral grounds. The excesses of Ancient Greek and Tudor times are not so dissimilar to today’s social-media spawned obsession with everything over the top, which begs the question could a current iteration of the Sumptuary laws make us all happier in the New Millenium? Especially since we are already seeing signs of self-regulation with the popularity of the #nospendjanuary challenge on TikTok this past month. Could the appetite for excess in all things be waning?
Taking recovered textiles and giving them new life is where the collection excelled. A Moroccan wall-hanging was repurposed and spliced into several looks including a skirt, a retro blouson, and the collections of-the-moment cowboy hats created by Stephen Jones. While what appeared to be a tricolour crochet dress with frills was actually rendered in latex. For those who prefer the more traditional take there were hand-crafted midi dresses in crowd-pleasing tones of cream.
THE BUZZWORDS
Rewiring historic references, extravagance over excess, mixed-message materials
THE SHOWSTOPPER
Rewiring ideas around the handcrafted, here Edward Crutchley’s focus on material sees latex being utilised in a completely unexpected cutwork dress with hyper-feminine ruffles.
THE DIRECTION
THE QUOTE
There is a stronger focus on silhouette. Especially width. This is something I have been experimenting with in the past but this season it’s really taken to the furthest degree.
Edward Crutchley
THE WRAP UP
In placing icons of the past, whether portraits, motifs, or textiles into a modern context Crutchley “connects us to the threads of our shared history”. A history which looks back centuries, as opposed to the recent past, as the 1990s, 2000s, and 2010s can only have so much more to give. Here we are pushed to consider how those from the medieval time period or the 3rd or 4th century lived.
This season there was an intense focus for the designer on materials. Plaited raffia created by the Dayak – the indigenous peoples of the island of Borneo – manifested itself in knitted wool and lurex jacquard. And his continuing work with AI produced a “guided weave of four stallions jumping out of a rising sun” from an eBay purchase of a Turkmen blanket.
It’s exciting to witness a designer with such an appreciation for what has come before, be just as enamoured with what is to come. On AI technology Crutchley told The Impression “As to the role that AI will eventually play within the industry really there are endless possibilities. The threat is not from AI itself but from the fashion establishment not being willing to understand and embrace what is possible.” But in his practice he is a leading example of how to merge AI with craft using it “…as a starting point to explore silhouette and mood.” As he acknowledges that it (AI) doesn’t “need to consider how a garment is made or where a seam will go” which can lead to infinite concepts the likes of which haven’t begun to be tapped into as yet, saying that, maybe next season for Crutchley?
