It seems that since the now shuttered Meadham Kirchhoff ushered in a fashion for bows, pearls and all kinds of fancy treats, young London style, as championed by our crop of newbie designers, has revolved around the saccharine and sweet. Frills, flowers and full skirts dominate. Fashion East is a riot of animated, childish hues and surface fuss. Ryan Lo’s been pushing this agenda for a while now - he is the master of a love story; fashion’s own Walt Disney, conjuring up fairy princesses. The king of kawaii. Or is he? This season, he declared himself 'tired' of the latter. Faced with the ubiquitous girlishness of London, he decided it was time to grow up. Think monochrome, think black, think neat. His girls had gone from teens dreaming of the day they could be a blushing bride to Miss Havishams in pearls and embroidery.
It was a welcome change. Lo has such a clear handwriting that even when he performs an aesthetic U-turn, everything still looks decidedly his. His work should be applauded for conviction alone - he knows what he wants to make. He is committed to his vision of femininity. It’s refreshing when so many others seem to be grabbing for the same audience - via the same models, the same 'influencers', the same stories. Lo puts his own twist on everything. His collaboration with acclaimed milliner Stephen Jones has produced the best results since Galliano or Thom Browne employed the hat doyen. Today’s stacked school hats were glorious.
Lo’s personal journey has also taken a new turn - he’s just gained British citizenship. Naturally, as a lover of pomp and ceremony, he’d paid tribute to the Royal Family, notably the wardrobe of Princess Diana (note the pussy bows and trench coats). She’s an apt icon for this new rebooted Ryan Lo - mature, stylish, poised, but, of course, still a princess.
