London’s terrible twosome Edward Meadham and Benjamin Kirchhoff of Meadham Kirchhoff fame (who love nothing more than watching The Great British Bake Off and swooning over Miu Miu shoes), are known for their extravagant and ornate collections as well as their epic stage productions. Over the last few years, they’ve gained a cult-like following and have become THE must-see show at London Fashion Week. Judging from the rush backstage after their show, their continued quest for “perfection” was well and truly realised for AW13!
Tears In Her Eyes
The gorgeous Florrie White embraced Meadham Kirchoff’s quintessentially decadent aesthetic and created a look that was “not girly, but very romantic.” The make-up look evolved on the catwalk with the first girls coming out with colder skin, “a raw and dreamlike effect,” said White, “that also gives the impression that they might have been crying.” Eventually the looks transformed into a stronger and more contoured feel. “As the show goes on,” said White whilst still putting the finishing touches to the girls, “we want it to seem like they’re finally making more of an effort, maybe they’re about to meet someone so they’ve got a red lip.” Similarly, the girls’ hair started tightly wound in 1940’s finger curls that were first seen under intricate veils and then topped with extravagant sparkling tiaras and diamante hair combs as the show went on.
Come To Bed Red
Katie Jane Hughes was back with Butter to produce a sleek nail look to juxtapose with the grand-looking clothes. This season it was all about the seductively named “Come to Bed” red. “It’s classic and timeless but it’s a chic and strong colour that gives off a hint of timeless elegance,” said Hughes, “we were of course inspired by the vintage feel of the clothes too and there’s nothing more vintage than red nails!”
On the Catwalk
Front row… Everyone from our uptown New York style crush Taylor Tomasi-Hill to the ever-wacky London DJ Princess Julia.
The collection in five words… Aprons, Victoriana, sailor, rubber, frills!
The girls on the catwalk… Girls were cast from the street – one of them was an ELLE intern! Continuing on the idea of inclusivity, backstage after the show Edward mentioned how he’d have loved if all the kids at The Tate could have come in for the show too!
Playlist… twinkling classical music – waltzes that Anna Karenina might have danced to and fairytale orchestral pieces that made our hearts ache.
What we loved… Everything – it was such an intricate, beautiful collection! The sailor girls, French maids, the Victorian-esque necklines mixed up with subversive rubber frills and the Marie-Antoinette-style shoes.
Hero piece… A beautiful ballerina print trapeze dress with laser-cut rubber detail that was red-carpet worthy. Meadham Kirchoff is always a treat for the senses and this was no exception.
Inspired by… Edward Meadham had been staying home a lot, cooking and keeping house, and had a new found respect for the home maker – from the Victorian woman wearing frills and nipped waists to the more modern woman who’s always in and out of her apron to keep herself looking spic and span (a rubber one in this case!).
End notes… It was hopelessly romantic and melancholic – the music, the wide open ‘stage’, the stark palette and the very feminine references all together made for something beautifully poignant that will stay with us long after Fashion Week is over.
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