Phoebe English
Images by: Tasha Lee
@tashalee_photography
Words by: Liv Barrett
@oliviabarrett__
English fashion designer, Phoebe English began her eponymous label in 2011 after graduating from a BA and MA in fashion design, joining the impressive fleet of Central Saint Martins alumni. English has rooted her brand in sustainability and since 2011 has set about localising her collection and proving to be a major force in the British fashion scene whilst maintaining a non-extractive ethos.
Hosted in St James’ ‘Iconic Images Gallery’, English’s SS24 presentation was anything but extractive. Amongst the garishly dressed chaos of fashion week, English’s collection felt like a tranquil dip into a totally conscious fashion future. English’s choice of presentation over show feels rooted in her desire for a slower form of fashion. The presentation, which took place over two hours, was a rotational exhibition, resetting every 15 minutes and giving guests the opportunity to drop in and out. There was an ease to this form of “fashion show”, it didn’t feel as though it was a blink and you’ll miss it moment like most runway shows, highlighting a dedication to making the fashion industry a more cyclical space.
English presented her collection titled Memory Shapes, alongside a poem. The references to times past with lines such as:
“A long time ago
When my mind was ripe for building”
and structural imagery with the words
“Dancing cutouts”
ensured that the designs and the clothes felt akin to previous collections in a way that indicates English is not trying to reinvent the wheel with every passing season. She distances herself from the toxicity of the current trend cycle and the very DNA of her brand, structural, natural, ethical, is maintained across seasons.
The collection was produced in collaboration with heritage British outerwear brand, Lavenham, being the second edition of the two brands partnership. Across the presentation there were multiple looks that featured the delicate quilting that Lavenham has perfected over their history.
A black coat with an asymmetrical and wonderfully structural collar and a long tan jacket that featured exaggerated and circular lapels. English states in her show notes that the wool used to create the quilting effect is fully traceable British wool and the surrounding fabrics are entirely deadstock.
With the Lavenham factory being based in Suffolk and the wool suppliers promoting a more responsible form of farming practices, English has once again proven that fashion doesn’t have to cost the Earth.
The crinkled pieces, which included a wonderfully Victoriana style blouse and Grecian column-esque dress were shown in a bridal champagne colour. The bridal nature of the garments is no randomised decision as they were made from bridal silk offcuts that were sourced by vintage clothing company Glass Onion.
A selection of pieces across English’s collection were made in partnership with Glass Onion, who, with their skilled team, source and rework masses of discarded fabrics that were once destined for landfill.
The pieces were satisfyingly neutral in colour, aside from a couple of brilliant yellow garments, including structurally tiered dress and a layered blouse. The eye catching yellow was made from the flowering plant, weld, which has been used to achieve the striking yellow colour for a millennia.
The diverse fleet of models that featured none other than the brilliant writer, Aja Barber, highlighted the complete wearability of English’s beautifully made clothes. Standard silhouettes had been redefined with subtle details and reshaping that allowed for classic looks to be made into something truly interesting.
The timelessness of Memory Shapes, aided by the neutrality of the colour palette, the inclusive casting and, the rebirth of discarded fabrics into exquisite garments ensures that English in all her subdued charm, still manages to be a standout at London Fashion Week.