Gucci A/W '11

A – Ahead of the crowd

If in doubt, add a hat. From Frida Giannini’s much-coveted jewel coloured fedoras at Gucci to Marc Jacobs’ polka dot pillboxes and Burberry’s baker boy hats, retro-inspired looks were topped by perfectly nostalgic headwear. This season it’s all about the hat.

B – Bows

A micro trend in seasons past, the bow is set to go macro. At Jason Wu, bows were worn as quirky neckties providing a feminine contrast to mannish suits. Pussy bow blouses at Gucci and Ferragamo complemented a ladylike look with pencil skirts and court shoes. Adding a bow made from a length of ribbon tied around a shirt collar will give last season’s shirts a simple new season makeover.

C – Cigarette pants

The cropped, skinny style is a timeless classic but is enjoying a style renaissance this season. Celine’s tailored trews are atop many fashionistas’ wishlists and have inspired a myriad of high street designs. Keep the look pure and simple with co-ordinating separates or contrast with feminine touches.

D – Dotty

Kooky prints are everywhere this Autumn/ Winter, with polka dots the most prolific. Spots, circles and anything in between ruled the catwalks: Marc Jacobs combined dotty separates with spotted accessories and Stella McCartney’s laser-cut spots and circles were a sophisticated take on the trend. David Koma’s spots were a more playful interpretation, accentuated with supersize pom poms; whilst Topshop Unique took inspiration from 101 Dalmations and Cruella de Vil with everything from coats to nails speckled with dalmation print.

E – Egg-shaped

Egg and cocoon shapes form Autumn/Winter’s freshest silhouette. Burberry’s sixties-inspired cocoon coats cut a sophisticated shape, and Mary Katrantzou’s Fabergé egg-inspired creations are luxurious collectibles in themselves.

Christopher Kane A/W '11

F – Futuristic

Christopher Kane’s innovative Autumn/ Winter ’11 collection is forward-thinking fashion at its best. Yet again, Christopher Kane took things to the next level with his futuristic aqua gel-filled PVC detailing and black crochet-effect leather material.

G – Gender Bending

This season’s ladylike aesthetic meets its antithesis in androgynous ensembles. Paul Smith, Stella McCartney, Dolce & Gabbana and Chanel all took inspiration from menswear with classic white shirts, sharp, oversized tailoring and masculine trouser suits.

Paul Smith A/W '11

H – Highland Fling

This Autumn/Winter, fashion took inspiration from traditional Scottish fabrics. Tartan, Prince of Wales checks and hound’s tooth were seen on everything from trousers to dresses – often paired with contrasting checks and tartans. Burberry and House of Holland gave tartan tailored jackets and dresses a modern twist in bright yellow and orange hues.

I – Indulgent Colour

Jewel hues abounded on the Autumn/Winter catwalks and are fast becoming a defining trend of the season. More subtle than Spring/ Summer’s eye-popping brights, gem-inspired colours evoke richness and subtle sophistication. Colour was often combined with black but for maximum impact take inspiration from Gucci’s top-to-toe ruby, emerald and sapphire-coloured sumptuous maxis.

J – Jumper

The humble jumper is making a name for itself this Autumn/Winter with tongue-in-cheek motifs (Henry Holland), eye-catching texture (Erdem, Emma Cook) and a signature slouchy shape (Acne, Balenciaga). OTT oversized knitwear was paired with chic pencil skirts and floaty midis for an insouciant vibe.

All images: style.com

Here’s my take on 1940s style I discussed in my previous post.

Over the last few seasons, hemlines have been getting longer. Spring/ Summer’s obsession with the midi skirt has evolved from a flirty seventies style into a more pared back, elegant, 1940s-inspired look, worn on or just below the knee. The pencil skirt plays a big part in the 40s revival this season, worn with ladylike blouses and peplum jackets nipped in at the waist.

Miu Miu’s collection epitomises A/W ’11’s obsession with all things 1940s, feminine shapes, fur accessories, structured coats, strong shoulders and nipped in waists. Miu Miu’s feminine patterned and embellished tea dresses were probably the most iconic pieces in the collection, and definitely the most covetable. Marc Jacobs also took inspiration from the decade in his own collection, giving the classic silhouette a modern twist with futuristic texture and pattern. At Louis Vuitton he gave the look a more grown-up feel with cinched waists and pencil skirts for a covered up but subtly sexy look. Gucci, John Galliano, Nina Ricci, Donna Karan and Topshop Unique all took inspiration from 1940s fashion and emphasised the allure of the feminine silhouette.

This is old school glamour at its best: make-up and hair are immaculate, with red (or plum) matte coloured lips the essential accessory. The iconic Marcel wave was given a modern update for the catwalk with updos mimicking the shorter style. Even small details were inspired by the decade, such as skinny belts to emphasise the waist, elegant leather gloves, ladylike handbags and fur collars, cuffs, hats and stoles.

Here’s my take on 1940s style. The dress is from Topshop and actually closely resembles a picture from the page about 1940s fashion in my much-loved fashion history book I had when I was little. It sums up the style: I love the ladylike length, elegant sleeves, nipped in waist and high neckline. It also ticks two trends as polka dots are set to be a huge trend this Autumn/ Winter. The dress sold out but I think it came back in stock online, though I agree with a few of the comments that it isn’t cut very generously for such a non-stretchy material, particularly the arms. I wore it with my burgundy patent loafers, vintage doctor bag and matte red lips to complement the retro style. It’s been my favourite summer dress that I’ve worn all summer long, so much so that it’s now getting a couple of holes – naughty Topshop!

(I blinked in this but it’s the only close-up I have to show the make-up…)

Hand knitted Fair Isle jersey in traditional patterns and colours at the National Museum of Scotland. Hand knitting was a source of income for many Scots from as early as the 1400s.

Handknitted Fair Isle stockings

Lamb's patent flat bed knitting machine, 1865 - fitted into a domestic cabinet to resemble a piece of furniture

Spinning wheel: the textile industry was one of the most important industries in Scotland. Wool was carded and spun by women, and the yarn woven on hand looms by the village weaver.

Handloom with treadles for tartans and other checks, used at Kilbarchan, Renfrewshire, in the 19th Century

Yesterday saw the conclusion of Wool Week 2011, a series of events celebrating the history of the unique natural material. Britain has a long history of wool production and the fabric was once one of our country’s greatest national assets. However, in recent years wool has faced increasing challenges and the future of the industry looks uncertain.

In February 2010, HRH Prince Charles officially launched The Campaign for Wool in a bid to raise the material’s profile. Sadly, in recent years the price of wool has plummeted as a result of low demand to the extent that farmers were being paid less for the fleeces than the cost of having their sheep shorn. Sheep numbers are also in decline worldwide. Wool faces competition from synthetic fibres, which first became a cheaper and increasingly popular alternative to wool in the early Twentieth Century. The wool industry, which has thrived since the Middle Ages, began to be sidelined by man-made fibres.

Without a thriving wool industry, our country would lose such a key part of our history and heritage. Moreover, wool is the most environmentally friendly and sustainable of fibres – oil-based synthetic fibres seem like an illogical step. These issues inspired the birth of The Campaign For Wool: Prince Charles initially met with sheep experts, wool traders and marketeers, fashion designers and carpet manufacturers. The result was a unique network of experts, presided over by Chairman John Thorley, OBE (former Chief Executive of the National Sheep Association and chair of other countryside institutions, including several of the Prince of Wales’ other campaigns) and Vice-Chairman Nicholas Coleridge, CBE (MD of Condé Nast magazine group London and former chairman of the British Fashion Council).

This campaign powerhouse has succeeded in gaining the support of many of fashion’s key players and big names in the industry. Last year Wool Week attracted 70 fashion brands, six major department stores and 1,000 carpet independents to front the retail-driven campaign and raise the profile of wool. The campaign has gone a long way in changing wool’s image and putting the spotlight on the material’s unique and versatile properties. The actions of The Wool Campaign have gone some way to enhance respect for the industry and there is some evidence to suggest a heightened demand for wool, such as the increase in the price of the fibre.

The campaign has gained great momentum in the past year, culminating in Wool Week 2011. It kicked off with the opening of the exhibition ‘Wool Modern’ at La Galleria, Pall Mall, celebrating innovative use of wool in design. Sonia Rykiel, YSL and Thierry Mugler showcased archive designs alongside contemporary pieces by Alexander McQueen, Mark Fast, Paul Smith, Burberry, Vivienne Westwood and David Koma. Effectively demonstrating avante garde use of wool throughout the creative industrie, ‘Wool Modern’ is a potent challenge to traditional perceptions of the material.

Shop windows across the country also paid homage to the material with special displays for Wool Week. The week also inspired an eclectic series of in-store events such as woolly performers at Selfridges, videos about Wool Week playing throughout Harrods, sheep in Jigsaw as well as an exclusive range of one-off wool handbags in Harvey Nichols available via auction, especially created by designers including Burberry, McQueen, Westwood, Christian Louboutin and Smythson.

Liberty’s knitwear design competition for RCA students is testament to the massive creative potential of the material (as well as the students’ abundant creative talent of course!) The winning woolly creation by Olwen Walsh was an avante garde interpretation of the traditional fisherman’s jumper.

Wool Week couldn’t be better timed, as the woven fabric is having a bit of a fashion moment with the A/W catwalks awash with heritage references and materials. The Wool Campaign has done wonders for wool’s image and all of the wool-themed fun has cemented the timeless appeal of the most natural and sustainable fibre known to man.

[Pictures taken at the newly revamped National Museum of Scotland – if you haven’t been yet I urge you to do so! As a self-confessed fashion geek I found the history of textiles particularly interesting. The history of Scotland was also fascinating and I would recommend a trip to the roof garden for stunning views of Edinburgh.]