The belle of the ball: Edward Crutchley’s SS22 collection was one of bare bum cheeks and billowing ballgowns
Averse to the return of the (sometimes) horrifically unflattering low rise jeans and other y2k staples? Enter Edward Crutchley’s 18th century-inspired SS22 collection.
DESIGNER: EDWARD CRUTCHLEY
SEASON: Spring/Summer 2022
EVENT: London Fashion Week
LOCATION: Collins Music Hall, Islington
From brocade ballgowns to brushed mohair Club Kid cardigans, Edward Crutchley’s SS22 collection offered up a masterclass in both textiles and queer culture. His show on Friday quickly taught guests, if nothing else, to expect the unexpected. Set in a music hall three floors of cement deep under Islington, guests entered into the space under a laser field reminiscent of that from Ocean’s 12. The space resembled a cutting-edge nightclub that I, for one, would not be cool enough to even know about let alone be allowed into, but rather than the beats of techno music that’s so often paired with such laser beams above, guests were greeted with classical music more suitable for a palace ballroom. In fact, the soundtrack remains a unique yet sporadic component of the show. Atmospheric renditions of Haddaway’s What is Love (Baby Don’t Hurt Me) and 50 CENT’S In Da Club met spooky sounding moans, funky disco tunes and even thunder and rain sounds. It’s like that friend at a party who always gets the aux cord and plays the most random mix of tunes but somehow makes them work together, keeping everyone happily on their toes.
Soon it’s showtime. The lights go dark and the static laser field turns into a mesmerising laser show, with sounds of moans filling the room alongside haunting chiming noises that grow louder and louder. It all comes to a climax - we hear a relieved “fuck” as the lights brighten, the lasers disappear and a medieval-style instrumental version of Montero (Call Me By Your Name) by LIL NAS X starts to play.
Look number one arrives; a billowing ballgown floats into the concrete pit. A collection of period style frocks with a modern twist follow, like a rhinestoned broccato leotard, a nod to the queer club culture period when historically-referenced costume dressing was all the rage, or a robe à l'anglaise made of lime green lurex. The latter was my personal showstopper - it was the beauty and the beast. Flatform Mary Janes made by ROKER adorned the models’ feet, while hats and caps from STEPHEN JONES MILLINERY also graced the runway.
English designer Edward Crutchley started his eponymous label in 2015 and has worked and collaborated with the likes of PRINGLE, KANYE WEST, DIOR and LOUIS VUITTON. He has an expert knowledge of artisanal textiles as well as the global marketplace, and his creations are grounded in tradition while simultaneously pushing the boundaries of craftsmanship and materials. It’s this experience and expertise in materials that give him the perfect platform to push sustainability in fashion, and he does just that, using fabrics like recycled polyester and traceable merino. One jacket is woven by Johnstons of Elgin, who recently received the Queen's Award for Enterprise for their work on sustainability.
The CENTRAL SAINT MARTINS graduate clearly has his alma mater’s philosophy, “research, research, research” ingrained in him, as this SS22 collection was a visual education - and celebration - of the history London’s queer culture, from the 18th century onwards. Crutchley’s research speaks for itself both in the designs and on his thorough show notes, on which he shared detailed references for each look as well as a clipping from The Weekly Journal dated 5 October 1728. The clipping, a police report of such, reported a group of ‘nine male ladies’ being sent to prison for the ‘detestable Sin of Sodomy.’ Also included was a reading list of his inspirations comprised of titles like Men in Women’s Clothing – Anti-theatricality and Effeminisation by Laura Levine and Queer London by Matt Houlbrook. Why this queer culture celebration now? “I think the world is not becoming a better place,” Crutchley said. “It’s really important for us as queer people to speak, to show what we can do, and show beauty from our perspective.” And a collection of beauty, it certainly was.
Images courtesy of Getty.
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