Review of Edward Crutchley Spring 2022 Fashion Show
A provocative yet sincere collection with a laser focus on luxe texture and print
By Lizzy Bowring
Perhaps it was the smokey atmosphere, albeit not to mention the spectacular laser lights, that evoked an era when the venue, The Collins Music Hall, Islington Green, held live performances. “All the worlds a stage”, and if this stage setting was anything to go by, then the purpose of showcasing Edward Crutchley‘s laser focus attention to detail and researched storytelling” was achieved.
Crutchley’s refined list of reads in his show notes demonstrates how thorough this rising star is”.
However, the story from the Weekly journal 5th October 1728 offered up the background tale to his collection. ‘Nine male Ladies were apprehended and secured in prison, one of which, John Bleak Cawlend was committed to Newgate, charged with committing the detestable Sin of Sodomy’.
A spectacular gown in opulent brocade characterised an 18th century period dress as summarised by one of Crutchley’s books, Margot Hamilton Hill in The Evolution of Fashion: Pattern and Cut from 1066 to 1930 (1967): ‘Simple, boned, open bodices laced across the front, with the full extended skirts set to the waist edge, at the sides in large pleats. Open robe — from hem to nape of the neck, the fronts, bordered with sewn-down revers (robings). The bodice cut with a narrow back — the open fronts held in place with ribbon ties or lacing.’
Creating intelligent and impeccably crafted clothes reflects Edward Crutchley‘s approach to contemporary luxury while at the same time demonstrating his commitment to transparency throughout his design ethics”.
Look two switched upbeat in a youthful display of opulence. Never underestimate Crutchley’s approach; every piece thoughtfully constructed – the bralette held deftly crafted pleats, the bomber jacket displayed lurex brocade sleeve frills, and the simplicity of his approach in the mini skirt underscored the use of luxurious materials. His polyesters are recycled, including the cloque used in this fabulous bomber jacket.
Edward Crutchley’s collaborations are as thoughtful as his designs. Victoria Rickard designed and made the unique jewellery (the charm bracelet is one item I would covet), the sweater dress was created by Knitup (Knitup is a Hong Kong-based knitwear design platform with a technology-first approach to manufacturing) while the Boroccato print silk organic flares continued the mix of monochromatic patterning. In addition, the donkey jacket in logo jacquard came woven by Johnstons of Elgin ( who incidentally is the only mill in Scotland to maintain the capability to take natural fibres from their raw state through every stage of the process). His other collaborations included softly constructed baseball caps hats by Stephen Jones Millinery. Elsewhere, the leaf motif in the sequin wool jacket was courtesy of The London Embroidery Studio.
His signature of rich prints, experimentation of artisanal textiles, and attention to beautiful detail places him in a unique position; very few designers possess all of these skills”.
Maybe the choice of venue was synonymous with the original owner of The Collins Music Hall, Sam Collins, when he received so many well-wishers for his opening night in 1863. London is always supportive of homegrown talent, and that the well-wishers for this tongue-in-cheek Yorkshire man did not go unnoticed.