MITHRIDATE AW26: PATRICK BATEMAN GOES TO THE MOORS

Thank God for the internet — from where else would I derive beauty in my life? Certainly I wouldn’t be able to enjoy my pirated Chinese harem TV dramas. However, aside from the internet, the only remaining ever spring of beauty is fashion — and, having just run the gamut of London Fashion Week yet again, I am pleased to report beauty does still remain in our city. Of the many shows attended, some of which will or have appeared in this magazine, Mithridate's AW26 runway demands particular mention.

Photography courtesy of Rebecca Spencer

Creative director Daniel Fletcher’s third collection with the brand, Mithridate AW26 felt in many ways like a consolidation; a statement that he is here to stay. The whole show felt very cinematic: from its staging, a giant wisteria tree centrepiece (wisterias bloom in the spring not autumn, but I’ll let it slide) in the main hall of the Tate Britain, all the way to the clothes themselves, which felt strangely reminiscent of the films of the 90’s and 00’s. The most noticeable nod to cinema was certainly the references (if I may infer that they were, in fact, references) to Mary Harron's 2000 movie American Psycho, eternal cinematic fashion darling. Featuring tailored suits worthy of Fletcher's Savile Row training, in tweeds, wools and the occasional cummerbund, coupled with slicked back hair and outrageously large valise’s, Fletcher's works evoke Patrick Bateman on a misty English moor. Women’s tailoring brought an especially strong sense of drama to the show, with boned suits, big shoulders and structured garments, presumably set with enough starch to provide for a small nation.

Photography courtesy of SHOWstudio

What stole the show for me, however, were the dresses — particularly the use of moire. Recently, one can’t help but notice the resurgence of moire silks everywhere, from fashion to interior design. I’m sure that the spirit Louis XIV is smiling down on us with this recent trend, and I for one can’t help but smile too. The use of strong, bright and saturated colour in this material seems profoundly papal, cardinal reds, and 70ss orange that are somehow simply Italian. My personal favourite look was a little black number, a classic LBD that you will certainly be catching me in as soon as available.

Photography courtesy of SHOWstudio

There were a few looks that felt slightly out of place, more casual (I abhor comfort or casualness) than the rest. Vaguely reminiscent of the streamlines 60s designs of Courrèges: scrunched up vinyl pants, mesh shirts with labels right below the neckline. I fear the comparison is impossible to avoid.

Photography courtesy of SHOWstudio

If there was one thing I noticed with this collection, and something I think rest of the room remarked on as well, is it’s wearability. Everything was wearable, I feel like I could have (and hopefully soon shall) put on any full look and walked out the door. It is in this position as a supplier of demi-couture that Mithridate is trying to bring elegance back into our days and routines, and this is undoubtedly a move in a positive direction. Hair is wet, socks with stilettos are here to stay, colour is back, we truly are living in the decadence of a waning empire and I am loving it.

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Reda Belhadfa is a London-based script writer and critic.