Edward Crutchley: Ready-To-Wear SS24

Building off the crisp, black and white ensembles of last season, Edward Crutchley explored 17th-century sports aesthetics for SS24. In the show notes, he offered a simple summation of what cut across the catwalk that, to fashion insiders, read like the draft title of a fashion bible: “Mediaeval people on a fashion photoshoot in the style of Steven Meisel”. And with provocative latex sprinkled in, that’s exactly what it was. With Crutchley calling it “Bardcore minimal,” the designer’s deft penchant for crafting a collision of historical dress and seductive modernity reached a zenith. 

Under the decadent vaulted ceiling inside the hallowed halls of London’s St Cyprian’s Church, illusory geometric motifs lead the charge. Looking like capricious harlequins, Crutchley’s quintessentially queer-goth models donned rough and tumble materials split with vertical stripes and oversized argyle. Slouchy cardigans, football kits and managerial coats were paired with chunky black stompers with fat contrast laces – reminiscent of early noughties skate shoes – and snow white leg warmers. Techy intarsia knits laced with ivy leaf and baroque graphics; sports uniforms evolved from mediaeval livery. 

In a style evocative of Johannes Vermeer, photorealistic faces and busts of Greek-physique anointed flouncy skirts, loose-fitting vests, jumpers, blazers, liripipe hats, slack suit trousers, and sport shorts. A mohair knit twinset made up of a baby tee and high-waisted hot pants with a matching balaclava featured that same somatic print and, when paired with an adorable plush pig-in-a-zebra costume backpack, it was a personal favourite. 

The last look out, was a lithesome gown that reminded everyone that Edward Crutchley’s opus has always been about sultry, uncannily queer codes of dress. Constructed from a nude-hued latex, its tiered skirt billowed and bounced with every step through the aisles of the church. Condom dresses for summer anyone? 

Photographs courtesy of Edward Crutchley. 


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