Topshop Unique Spring Summer 2013 @ London Fashion Week

Inevitably it is one of the most star-studded, talked about events at London Fashion Week, yet it is neither for an ancient heritage as with Burberry, nor for that matter relatively recently established “heritage” as at Vivienne Westwood; nor is it for a dramatic singular creative vision, as offered by the likes of Henry Holland, Mary Katranzou or Christopher Kane, that brings fashion people great and small flocking to the Unique show each season.

Instead, it is a high street chain turned high fashion factory, affordable to and indeed bought by millions of women worldwide, through an intelligent marketing strategy and all-guns-blazing approach to the market. Topshop, they of the clothing, accessories and now make-up, of fast fashion and boutique labels in one, of retail-as-experience mecca on Oxford Street, of outlets in America and soon Australia, of match-made-in-heaven designer collaborations and of sponsorship for a dozen or so up-and-coming designers through the NewGen programme; Topshop have made a credible, even covetable, ticket on the bi-annual rag trade carousel calendar. 





And directional, for the vast majority of women’s wardrobes, you can be in no doubt the Spring Summer collection will be. It was a step up and away from the boisterous prints London has been recently making a name for itself as doing best; instead, it was clean, grown-up, polished. Urban tailoring with a nineties minimalist finish. Cool, clean, put together; wholly of the moment and not a moment too soon.

Overseen by ex Vogue lady Kate Phelan, the collection was influenced by Bauhaus design, and featured as highlight a brilliant white trouser suit, shown with pointed stilettos and a tiny crop top. Coats were oversize and boxy; skirts fitted to the body, worn with oversize crops. The nineties references were lost on no-one.

There was transparent panelling too, and with powder pink makeup and a palette of largely white, with flashes of lemon and blush, the feel remained sophisticated not sticky sweet. Also on offer was a wondefuly well coordinated addition of navy and black, a delightfully sombre choice for summer.

Well played too were the touches of graphic monochrome print, or the art-on-dress piece that kept things powerful not playful, for Topshop can be known for more giddy choices (antlers in AW 2010 anyone?) but you would be forgiven in thinking this was a mood meant to suit Topshop’s thirty-something clientele, not school children and students with pocket money to spend. No longer hangers-on to the coat-tails of higher fashion oracles, Topshop is single-handedly carving a new space for retail giants on the world stage. Shown in a spage-age white space in a marquee in Bloomsbury, it certainly felt like the future of fashion.

Yet even without a glance at the clothing, it is clear Topshop makes a killer PR investment with this kind of show. Heavyweights such as Natalie Massenet and anna Dello Russo showed up; so, too, did Olivia Palermo. Then there were the crowd pleasers; Nicola Roberts, Pixie Geldof, Daisy Lowe, and the up-and-coming such as Delilah. They even name-dropped in the show notes, citing Corrine Day’s photos of Kate Moss as inspiration. Topshop, it can be said, want to be seen with them as much as they do on a front row, and it is a happy exchange. Crowd pleasers or trend leaders, Topshop further their cause to make their name synonymous with everything good about British fashion now.

All photos Fashioning.com