KING WAL
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London Fashion Week has always been surrounded by controversy, whether it be a stylist flouncing off in a huff because a designer is using normal-sized models (Mark Fast, 2010) or battles over encroaching schedules (New York Fashion Week & LFW, 2008). This year the outrage honours went to label Meadham Kirchhoff for their anarchic catwalk. Keeping the fashionista waiting, cluttering the stage and avoiding timed choreography may put editors and photographers’ noses out of joint, but according to João Paulo Nunes, it crowns the dynamic duo catwalk champions of the world.
PLANK
n the last day of the womenswear shows at London Fashion Week, as buyers and
press started to display signs of exhaustion, the sartorial ground cracked with a resounding thud in Meadham Kirchhoff’s runway show for Autumn/Winter 2011/12. After making hundreds of key buyers and editors (including Hamish Bowles from Vogue and Stefano Tonchi from W magazine) wait while sipping champagne and listening to soft music amidst the faded Victorian grandeur of the Old Billingsgate Market, the designing duo shocked them to the core. The soothing vocal jazz gave way to instrumental horror f ilm music in a show entitled ‘I Am a Lie that Tells the Truth’ that could not have lasted longer than two minutes and cleverly avoided being about fashion as we know it. Traditionally, the runway shows at fashion
weeks are usually about waiting: shows never start on time, and most people wait in queues to get in, followed by more waiting while seated. Once they start, shows tend to last between 10 and 15 minutes, with only one or two models taking to the runway at the same time. This timed choreography is designed to allow audiences to pay attention to the details in garments, footwear and accessories and give photographers ample opportunity to take shots from several angles. In their show, Meadham
THE
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