EDWARD CRUTCHLEY WINTER 2020 RUNWAY

GLAM EPOCH Shoulders that borrow their peak from traditional Filipiniana dresses. A graphic cable knit plaited in Scotland. A flurry of ornamental clouds remixed from antique Javanese batik. The pageantry of Nudie Cohn’s campy country and western suits. Nineties zero-fucks-given Versace. A nu-animalier echoing the mottled furs of Cape hunting dogs roaming the plains of Namibia. Carnivalesque, neo-cubist flesh by American painter Erik Jones. The charm of mid-18th century English chintz. A Yorkshireman working in Paris and London, revving up our consciousness of artisanal, global metiers. Edward Crutchley’s AW20 collection is creative collusion in a confounding age. From fine British merino wool and mohair tailored into two-button or elongated lapel jackets to embroidered Barong Tagalog shirts that derive from the Philippines, the season builds on a world without borders. It makes an authentic case for artistic exchange, which has always been at the core of Crutchley’s philosophy. The silhouette is bold and regal – research on the structure of María Clara gowns and voluminous Victorian bishop sleeves has been refined into the extremely high and flat curved shape used throughout the womenswear. Elsewhere coats are easy, cut with volume. Denim jackets oversized. Tux trousers and fitted over-skirts are lean. Signature Skater and Hawaiian shirts are in leopard Lurex and psychedelic cloud. Intarsia mink and Swakara coats are made by Kopenhagen Fur and knitwear with Johnsto