Naeem Anthony’s daughter, whom can’t have been older than 7 featured as a model in the catwalk show. The young model exemplifies the diversity of models cast for this show (though, there was a noticeable lack of range in body type), an attribute of Helen Anthony shows that is consistent; the models better mirror 21st century society. Anthony sources 70-80% of their fabrics from Britain while the rest are produced in Italy. They are proud of their “closer to home” production and their upcycling practices, reusing material that would otherwise be disposed of. Initially, the label produced menswear only, collections have since been elevated to encompass all ages and gender identities.

The looks ranged from a black, vinyl thong-bikini with a knitted monochrome scarf attached to suits so oversized they were reminiscent of David Byrne’s infamous ‘Stop Making Sense’ outfit. Knitted pieces, in garish colours embellished with florals preceded embroidered, sheer, delicate long-sleeved dresses and two-pieces, the clashing of aesthetics typical of the label, championing unity in differences. The combination of colours and decorative embroidery synonymous with Eastern fashion and craftsmanship and tailoring evocative of the West represented solidarity and freedom of self-expression.

The collection showed extensive range, so much so that it is hard to define. Anthony experimented with traditional tailoring and exaggerated sizes and fabrics encompassed every conceivable texture; lace, sequins, leather, vinyl, faux fur, and knitwear made up the collection. The venue made for an unusual catwalk experience, the floor, including the runway, was completely carpeted and the arrangement of the audience was novel; positioned in between large, obstructing pillars. It seemed an incongruous space to hold a catwalk show. Diversity and quantity were the stand-out features of the Helen Anthony collection, it was a perfect representation of the brands core sentiments.

Words by: Molly Boniface