Matthew Williamson (Q3340)
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Matthew Williamson is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Matthew Williamson |
Matthew Williamson is a fashion house from FMD. |
Statements
2000
Creative director
Everything has changed atMatthew Williamson—and nothing has changed at Matthew Williamson. Following Fall ’15’s excellent show, the designer and his team stepped back, exited the London Fashion Week schedule, took stock, then made a radical action that prefigures all of the see-now-buy-now hoo-ha currently convulsing the industry. They went straight to the consumer, cutting all wholesale clients except for two: Net-a-Porter and the soon-to-launch Style.com. That those two retailers are e-tailers is telling, because Williamson simultaneously shuttered his store in London to channel almost all of their in-house sales efforts through their own MatthewWilliamson.com e-store. Almost? Well, there are clients—especially dedicated clients—who still like to feel the clothes and inhale the atmosphere of a house: For them, Williamson has a new showroom in Queen’s Park that is richly furnished, Williamson wallpapered, and accessorized by a stuffed peacock named Wayne.The man himself was away shooting his furniture designs (another new venture) today, but his artistic director, Georgie Macintyre, showcased a womenswear collection that observed all the jet-set-boho-deco codes of the house. A monochrome maze jacquard on tailored pants, a long split skirt, and an embellished bomber provided the hard edge to contrast wide-sleeved, toucan-embroidered silk caftan smocks; a multicolored marble-print shirtdress; and a miniskirt in rich tiers of tuft and bead. Candy shade chiffon gowns featured amply swooshable skirts and beaded snake or bug details at the neck or waist. Matthew Williamson women want what they want—what’s changed is how they want to get it. So Williamson changed with them. This collection, naturally, is pretty much all available for sale already.
14 June 2016
Like Kim Kardashian, Picasso, and Snoop Dogg—all the greats—Matthew Williamson was born on the Libra-Scorpio cusp. Which makes him both aggressive and indecisive, right? "Oh, thanks," he spat (faux) aggressively, after presenting a dreamily lush lineup that saw the flimflam of horoscopes transformed into a beguiling and luxurious collection of rich beauty.Williamson took the colors of the zodiac's birthstones and the iconography of the signs—but not too much of it—as his starting point. Dyed fringed booties; highlighted shearling wraps, coats, and sleeve accents; plus sequined gowns, brocade belts, and immersively enticing printed silk dresses and separates were the tea leaves arranged by his creative swirl into augurs of happiness for party-loving girls. The first third of this show was a knockout—just unapologetic, expertly wielded, intoxicating color combinations that looked to the naked eye about three times more lovely than via the lens.Wielding such powerfully intense pattern and tone demands control to prevent a descent toward eyestrain, but Williamson knows his territory—although later, his own favorite section of monochrome print rather lacked oomph. The rest, though, had a focused energy that made it a standout show for the designer.Bohoseems anachronistic and too vaguely French a term to describe a collection that if it were labeled Gucci would, I predict, have a spectacular commercial future to look forward to. It deserves no less labeled Matthew Williamson.
22 February 2015
We envy much about Matthew Williamson—his tight family, his team, his talent—but above all, we envy his air miles. Williamson is probably on a plane more than he's on terra firma. His Pre-Fall collection was influenced by a recent trip to Morocco, a country that's been a muse for artists and designers alike. Working in a palette of hyper-pigmented hues, a house signature, he conjured up lush garden prints and mosaic patterns, often together in one look. Day pieces were strong: One sweater had mohair details that almost looked like astrakhan. Clever that. This being Williamson, there was plenty of high-voltage evening glamour, as well. A short dress constructed from shards of broken mirrored mosaics doubled as a gym workout for its sheer weight. At the other end of the spectrum was a chiffon dress in a gorgeous shade of wisteria pink so delicate it looked like layers of tissue. You can't do a Morocco collection without a Talitha Getty reference, and there it was in the form of a silk blouse with split sleeves.
14 January 2015
Last December, Matthew Williamson installed Danielle Scutt as his head of design, but she is no longer with the brand. What that means is that Spring was all down to Williamson himself; he was up for the task. "I have been doing this a long time, and the trick is to not make a collection repetitive and boring," he said backstage. "We have to infuse some freshness in it, and here there are no curveballs, no tricks. This all came straight from the heart." Williamson is known for his use of tapestry, brocade, embellishment, and embroidery, and he has a keen eye for tailoring. All of that was on display here, as he turned a well-worn travel reference into a strong collection.The show started off with a maroon suede trouser suit with floral sequin embellishment, flared trousers, and a tassel belt. That was followed by some high-octane looks with silk dégradé floral patterns inspired by Williamson's recent trip to Bali, as well as plissé halter-top looks with flouncy flamenco details on the hem. Shots of sky blue with citron yellow stood out, as did the pieces that had a more reflective quality.The blouses were ingenious: a wrap design that just showed an inch of skin via a triangle, achieved through clever cutting. There was also an ostrich-feather detail that was more subtle than usual for Williamson. The high point was a sea blue ikat shorts-and-jacket suit that summed up a big part of the designer's appeal—the touch he has with brocade. In the past few seasons, the brand has been trying to find a line between business and boho, and at times the direction has felt unclear. With this collection, however, it seems that things are back on track.
14 September 2014
"I don't like the expressioncomfort zone," said Matthew Williamson at his Resort 2015 presentation. "The phrase implies the lack of an appetite for new ideas or that you're just plain lazy—and we are anything but." Williamson mentioned this because Resort marked a return to his boho roots after a few seasons of a more "working woman" vibe, which paid off commercially but was jarring to some of his loyal customers.To be sure, whoever coined the termresortcould have done so for Williamson, since holiday and lightness are always at his core. A highlight of the first part of the collection was a jumpsuit featuring broad pink brushstrokes against a creamy white background. The print was hand-painted, then finished off on a computer. It achieved Williamson's goal of being sweet, innocent, and exciting at the same time. Other standouts included a baby-blue knitted viscose jersey top with a raised snake-like pattern paired with a wonderfully light floral miniskirt. A butterfly-lace dress in a "toxic lime green" felt fresh and desirable. A baby-blue silk dress, hand-beaded in a butterfly pattern, had very special layered and fluted sleeves. It looked simple but was certainly not. Said Williamson: "It takes heaps of effort to make something look effortless. The simpler it looks, the harder it is to create."The showpieces were the beaded evening gowns at the end. They combined high-octane, full-throttle glamour with a fine attention to detail in the form of linear layers of ostrich feathers, jacquard strips, and beads. "It's all hand-stitched in India," said Williamson, "we have no machines there." As far as evening gowns go, that sounds pretty boho.
17 June 2014
Matthew Williamson must be cursing the schedulers at BFC, because at precisely the time of his show, a few hundred meters away, Angelina Jolie, Brad Pitt, Leonardo DiCaprio, Lupita Nyong'o, Prince William, et al were making their red-carpet entrance at the BAFTA Awards. Talk about a potential thunder stealer. That his front row was still full of stars was testament to the love that surrounds Williamson.This collection was a watershed moment for the brand. Why? Because last season he decided to semi-retire his boho look, moving more toward the working woman. Today was going to be the second chapter. Adding to the excitement was the fact that this was the first outing for Danielle Scutt as Williamson's artistic head. So did boho rear its pretty head again? The answer is yes…ish.Williamson had a black-and-white starburst carpet laid down—a nod to his love of seventies interior design ("I am a total product of the seventies," he told us backstage), but the first look that came out was a solid baby blue coat that, yes, said "working woman." An exquisitely tailored black suit was made special by a stunning neckpiece designed by Azza Fahmy. And a truly beautiful brocade tapestry coat toed the line between boho and business. Then, slowly, surely, the crystals and the bling appeared. Out came the glitzy star prints; the sumptuous sweaters with crystal appliqués; and the shirred, off-the-shoulder jersey jumpsuits that channeled Marisa Berenson at Studio 54. The look-at-me chubby fur coat in rich red and blue screamed "party girl." No one is going to the office in these looks.The last couple of ostrich-feather dresses had the crowd swooning. Backstage, Williamson explained that they required a burning process and were the "most expensive dresses I ever produced." Now that is bling. But we know that back in the studio there is perfectly good dailywear that will make it onto the shop floor. He just only hinted at it in this show. Williamson going full business would be like Donatella Versace becoming an accountant—it's just all wrong. But that doesn't mean he can't do two things at the same time.
15 February 2014
"English eccentricity" was the theme du jour for Matthew Williamson. But the notable thing about Williamson's latest collection was its expression of another very English value, that of circumspection. The designer's customary exuberance was in play here, in his colorful palette of jewel tones and in the cheery prints that riffed on country house scenery, like berries ripe for plucking and bluebells climbing a lattice. But Williamson's silhouettes erred on the side of prim, and his use of embellishment was atypically reined in. There was a crust of clear sequins on the bodice of a floral cotton piqué gown, for instance, which made the dress catch the light, and a ring of delicate thread embroidery around the waist of a dressy navy jumpsuit. Meanwhile, Williamson's daywear was really rather muted, though his tartan did have a bit of sparkle to it, and you wouldn't pick out his printed neoprene biker jacket for any shrinking violet. Still, the gist of this outing was, less flash, more panache.
8 January 2014
It was business vs. boho at Matthew Williamson today—and business had the upper hand. Eagle-eyed watchers will have noticed that last season, after fifteen years of floaty, chiffon-y, "I am just sunning myself in Ibiza" looks, there was a discernible shift in shapes, structures, and fabrics chez Williamson. For Spring, he built upon that new maturity: "My girl is growing up," the designer said. "She is no longer on a perennial vacation—she is in her thirties and forties now; she has kids, a job, and responsibilities. She is the same free spirit inside but, like the rest of us, maturing—and I have to respond to that."To move forward, Williamson took a step backward, so to speak, and tossed out all of his computer-generated motifs; his prints were either hand-drawn or painted, and as a result everything looked more genuine. There was also much less float: That ship, for the most part, has sailed. Instead, there were more versatile daytime looks, as evidenced by printed banana-shaped trousers, and an abundantly wearable gray floral shift dress. For evening, there was also less of his usual red carpet fare and more options suited for a nice dinner after work. A sturdy black organza dress with white embroidered flowers showed a new restraint, while a soundly constructed peplum organza jacket with a chiffon overlay announced, "I am still a Matthew Williamson woman—just with a few gray hairs."The abundance of colors and prints showed a reinvigorated business spirit; he's simply giving his huge fan base an abundance of choice. So, here is gray dip-dye if you wish; here is an indigo ikat; here is a Keith Haring-inspired print; here are some lemon yellow daisy looks. For those keeping a digital scorecard, all of this is enhanced by a revamped Matthew Williamson site, updated, somewhat ambitiously, daily.But hard-core fans needn't fret too much—there was still plenty of the old Matthew in there: Dragonflies and flowers were well represented, as well as a couple of restrained chiffon gowns that had the likes of Sienna Miller and Paloma Faith clapping enthusiastically. Then there were the bright fuchsias and oranges. "Louise Wilson told me she wanted to see more of the 1997 show," Williamson said, referring to his debut collection, Electric Angels, with Kate Moss, Jade Jagger, and Helena Christensen—a moment that put him on the map. "And so I needed to reissue that.
"We couldn't help but notice a brightly colored dress on the rack backstage, somewhat shapeless, festooned with embroidered flowers, colors, and sequins. Why didn't it make it on the runway? "Well," said Matthew, "I guess that is really the old Matthew Williamson. Onward, I suppose." Good thing, then, that maturity suits him.
14 September 2013
Arizona's arid, cactus-filled landscape was the starting point for Matthew Williamson's Resort collection. Palm leaves appeared on just about every look, including a silky T-shirt, a pleated chiffon gown, and a cocoon dress with dropped shoulders—a new shape for the designer. The colors, too, had a Southwestern feel, evoking a burnished sunset or the clay-red mountains outside Phoenix. "There is a real sense of adventure and freedom about the place," Williamson said.He made it his own by weaving in vivid blues—an MW signature—and also adding rich, but not too rich, embroideries, done in raffia and matte beading rather than the usual sparkly bits. A great dress in the aforementioned cocoon shape—decorated with a subtly adorned blue and cream palm print—defined the collection. Williamson's woman still loves a bohemian look, but only if it's done in a modern way.
11 June 2013
Well,thatwas a surprise. Pretty much the entire audience at the Matthew Williamson show today did a double take when the first look emerged on the runway. As the decidedly un-vampy Hanne Gaby Odiele approached in a clean, shift-shaped, mustard-colored overcoat with graphic inserts, you could spot people rechecking their invites to make sure this was, in fact, the Matthew Williamson show. As Williamson himself acknowledged, this season he was determined to offer his woman a new proposition—and to that end, he jettisoned all things tight-fitting and billowing chiffon, and served up a collection full of geometric tailoring and relaxed shapes. That was a risky bet, but it paid off. Williamson managed to put most of the essential elements of his brand into his new look, using color audaciously, evoking his wanderlust through blanket wools and dreamy landscape prints, and maintaining his signature use of embellishment. The bohemian sensibility was there, too, borne out in the collection's eclectic mix of patterns and prints, as was Williamson's characteristic emphasis on prettiness. It wasn't so much that the clothes were quieter this time out as that they sang in a more moderate key.Not all the looks worked: In particular, Williamson had a tough time translating this new, laid-back attitude into convincing eveningwear. But his paneled coats were hard to argue with, as were the very pretty skirts with tiered pleats. And the fur-shouldered gilet bearing a rose-patterned tapestry weave had real, expressive force. Long story short, there was remarkable development here, much of it very promising. This was the most relevant a Matthew Williamson collection has looked in ages.
16 February 2013
This was an appealing Matthew Williamson collection. As ever, Williamson brought his theatrical sensibility to bear on his clothes, but with a little more matter-of-factness and circumspection than usual. Simply put, there were a ton of looks here that would work forwork—office-ready wool skirts and dresses with a flare of godet pleats; modest pop-colored sweaters; practical trousers matched with abstract-print tops. The seasonal theme of Nordic folk culture and landscape was witnessed, primarily, in patterns graphic and glacial, and in the nice touch of blanket stitch on a rustic wrap coat.Of course, this wouldn't be a Matthew Williamson collection worth the name if there weren't a decent amount of razzle-dazzle, which this season's party frocks amply provided. A draped burgundy gown was lovely and relatively subdued, with only a crystal-crusted belt for embellishment, while sequined sheaths and feather-hemmed minidresses will be catnip for the "more is more" girls. Here, as elsewhere, the collection cast an unusually wide net, proffering looks both grown-up and youthfully flirty.
8 January 2013
Herewith, some facts that will make you feel old.OK Computercame out 15 years ago. The very first Harry Potter book was published in June of 1997—also 15 years ago. And it was 15 years ago that Matthew Williamson launched his brand, sending his infamous, influential, pop-colored, and bias-cut collection Electric Angels down the runway. Wondering where the time went? Panicking about whether you've made productive use of it? Well, ha! Or, you know, sorry.For the record, Williamson has spent the past 15 years getting to know his customer. Whatever youthful interest he may have had in pleasing gimlet-eyed, Comme-des-wearing fashion editors, he has forsworn. The abbreviated, embellished, hyper-colored looks on his runway today were not for them; they were for the committed Williamsonistas who look to him for a punchy palette and pretty, attention-grabbing party clothes. Those trademarks were established in that very first Electric Angels collection, which the designer acknowledged referencing here. He did so through the prism of India, a formative place for him, and a nation that shares his devotion to saturated color and graphic embellishment. Hence, prints that conjured the pigment-tossing Holi festival that welcomes spring, and adapted Nehru jackets in bright, tweedy weaves, and plenty of traditional Indian tapestry embroidery.Meanwhile, the shoes were the news on the runway today. Williamson is launching his own line of shoes for Spring, and he showed off a few spindly platform styles that did not look comfortable. That said, there will be flat and mid-heel styles in the full collection.
15 September 2012
"I'm keeping the silhouette simple—classic, tailored, angular—so you can pile on the opposite," said Matthew Williamson of his Resort collection. "A 50:50 mix of these extremes is the best." A classic black cocktail dress with a sinister torrent of dark crystals and midnight blue beading curving down its front made a pretty convincing argument. So did a simple shift whose hem was dripping with gold paillettes. But when Williamson talked about how his 15th anniversary in business had refreshed his design DNA, it was the juicy corals and oranges, the cool mints and purples that the eye was immediately drawn to, because they were the color scheme of the summer-holidays-in-Ibiza dream that Williamson evoked so successfully at the start of his career. His easy "minimalist" shapes—caftans, shifts, draped columns—did that resort palette justice. He also offered the same silhouettes in a dark blue-toned urban palette with python-print accents. The most insinuating piece in the collection was a strapless column in an inky floral silk chiffon—15 years of professional and personal growth in one dramatic dress.
11 June 2012
The square sequin embroideries at Matthew Williamson looked almost exactly like circuitry. And though the reference didn't always hit you over the head, a sort of space-age chill settled itself over Williamson's traditional embellishments, color, and glamour. Though when it comes to a bona fide chill, there wasn't much here in the way of things to keep you warm. If only a girl could afford the go-for-broke fabulous pastel rainbow fox coat that opened the show. Then again, this year New Yorkers have all but skirted a real winter. You have to ask: Are coatsalwaysnecessary in a Fall collection?Williamson's cocktail dresses are his bread and butter. Here they came in two shapes, a great straight-cut organza T-shirt with those circuit sequins, sometimes turned slightly more casual layered over a long-sleeve top. On the sexier, more structured side was a silhouette with slashes at the ribcage and a skirt that was cut into and paneled like a machine. It was an idea that reached its full potential in a blessedly unadorned but sparkly midnight jacquard.Williamson is celebrating his 15th anniversary this year, which perhaps accounts for his futuristic focus. At times it was a clunky marriage of worlds—see the brocade skirt pieced with gold leather and worn with aStar Trek-like turquoise turtleneck and organza T-shirt. A gold silk blazer over ice blue trousers, in contrast, hit the right note. When it came to evening, Williamson splashed swishing gowns in baroque prints with great zigs of bright comic-book color. It made his models look like superheroines, about to take flight to the ball.
18 February 2012
Matthew Williamson finds himself in the same place as a lot of his peers: challenged to find creative solutions to harshening economic problems. Pre-fall is an increasingly important season for him, partly because it's an appetizer for his Fall show but also because it's become a way for him to edit and sharpen his message. So, even though time is so tight on this particular stretch of the fashion calendar that Williamson's business partner Joseph Velosa has dubbed it "the mean season," pre-fall has actually evolved into a reminder for the designer of why he does what he does—and why he loves doing it. And that can't be a bad thing.This time round, Williamson had been brooding on the interiors of Russian palaces, a rather more artificial inspiration than his usual references to travel or nature, but it allowed him to indulge a more deluxe world of patterns and textures. Parquet inspired a print on silk crepe; the swirls of marble flooring were blended with winter flowers to create another print for a lace-sleeved gown in jersey. Damask wallpaper was echoed in the weave of a cocktail shift with an extravagantly appliquéd neckline. Williamson's woman has often had something of the wanton wild child about her, but this time he wanted to up the ante to a more sophisticated, decadent level. "Czarist Russia is a romantic idea to me," he said. "Anything goes." But if that observation promised wholesale excess, the reality was more an opulently shaded and decorated version of the dressy little numbers Williamson's fans expect from him—this time with a luxurious parka, quilted and fox-collared, to toss indolently on top.
9 January 2012
"I guess people think of Matthew Williamson as the girl marooned on the beach," said the designer before his show. "But this is a wardrobe for a woman wherever she may be."So, castaway no more, but still in love with her silky bohemia? It's not the first time that Williamson has tried to square these elements. The best-looking proposal opened the show. There's nothing chicer than traversing city streets in July wearing a bright buttoned-up shirt and saronglike wrap skirt topped by a proper blazer with a glint of silver tile, is there? Even if pulling it all off is hard to imagine without the benefit of Anja Rubik proportions boosted by Williamson's Charlotte Olympia platform sandals, his first shoe collaboration ever.Ultimately, the answer shouldn't be so hard. A couple of seasons of ubiquitous color and print have taught us that the stuff goes everywhere. Williamson found his legs in chiffon blouses, here printed with digitized Japanese blossoms, tucked into bright trousers. He manipulated a floral until it looked like an abstract ikat and cut it into fluid silk onesie shirtdresses and jumpsuits. A little tweed jacket with an embellished neckline is one we've seen elsewhere but still makes sense here.Conversely, eveningwear, usually a strong point, was uneven. At times, Williamson seems to fall in love with his embellishments and lose equilibrium. The showgirl sprays of ostrich feathers on cutwork lace tipped the scales too far for any setting.
17 September 2011
Matthew Williamson, turning Japanese? The designer was inspired by the art and culture of the Far East for his latest Resort collection, which borrowed motifs from traditional Japanese painting for its prints, and shapes from the Japanese wardrobe for its styles. Loose, kimono-like frocks were banded with belts resembling traditional obis, though these gleamed in metallic. Landscape prints influenced by classical Japanese watercolors were modernized with the subtle addition of cityscape elements—skyscrapers inserted among the blossoming trees. Florals played a large part, whether sequin-encrusted and scattered over shifts, flattened into prints, or knit into patterns on long intarsia dresses and skirts. These elements worked best when sparingly applied. A batwing-sleeved nude dress with an obi belt had a band of landscape print bordered by strips of hot, neon chartreuse. Elsewhere, an overreliance on Day-Glo accents and an overly insistent use of print weighed down the collection. Williamson's longtime fans may, in fact, be a little puzzled by his newfound Japonisme. He wisely rounded out the offerings with pieces that would be at home in any MW collection. A long-sleeved draped gown in cobalt blue, for example, and a few drop-waisted lace shifts—a new shape for the designer.
14 June 2011
Matthew Williamson cited his inspiration as Francisco Infante-Arana, the Russian artist who photographs mirrored sculptures in various landscapes, creating a fun-house version of the natural world. That gave you all those oddly hued sharp geometric prints played off beaded and ombré Mongolian lamb chubbies. And it was echoed in that patchworked blanket wool, toughened up with black leather and a goth Fair Isle sweater dress that came uncomfortably close to last Fall's Givenchy.It always seems like Williamson is looking for ways to wrap his soft bohemian reputation in a tougher and artier skin. While no one wants to see an Ibizan rehash, he often seems to stumble over this goal. (See those dresses sprouting curves of marabou from shoulder to hip.) But there was a detectable change for the better here, a streamlining, a lightness. Consider the lovely simplicity in that lipstick red shift on Ajak Deng with a beaded collar, and even in the ensemble of a red sliced-lapel jacket worn over a nude sheer blouse and sequin and feather skirt.At a preview, the designer mentioned he wasn't using a stylist for his Fall collection, the first time in 14 years. "I couldn't be happier," he said. Whether that's the reason is anyone's guess. At any rate, a stylist might have found chicer shoes.
19 February 2011
Despite her reputation for lounging in Ibiza more or less year-round, theMatthew Williamsongirl is actually a world traveler. For pre-fall, the designer imagined her in an alpine forest. Brrr—but the more things change, the more they stay the same. To face the chilly slopes,la femmeWilliamson just slips a chunky coyote coat or a fox-trimmed parka over her usual finery. Even in the woods, you never know when you'll need a one-shoulder draped cocktail frock, an MW specialty.So, party people, breathe easy. There's plenty for you here. But also some cute options to take you from the dance floor to the daytime. A series of boxy, boyish cropped peacoats, available in responsible taupe or funky citrine, were properly cute. A few variations on the ski sweater, in a multicolored Fair Isle-ish marled wool, spoke to the alpine theme. And of course, it wouldn't be a Williamson show without a little high drama at the end. Here, it came feathered: a nude frock dissolved into shredded chiffon and ostrich plumes, and a gold-sequined minidress—of the sort Christophe Decarnin has made a signature at Balmain—into vivid teal wisps.
10 January 2011
No one likes to be put in a box. So it's not surprising that Matthew Williamson works to distance himself from his origins as a designer to Ibizan party girls. For Spring, Williamson conjured an exotic locale with no Pacha, no Amnesia, and not much of anything else. "My storyboard is a girl marooned on a deserted island," he said. "She has her Western wardrobe, and over time she becomes one with nature, picking up organic textures and materials."To underline the collection's raw quality, Williamson set the stage with a pristine white tent built inside the distinctly urban and industrial Battersea Power Station. A single glass wall and glass ceiling exposed panels of the decrepit space. This is no place for a bikini or caftan, it all seemed to say, and sure enough, the city-chic foundation of the collection was smart but languid tailoring in cargo pants, safari blouses, and wide, pleated trousers and shorts, along with constructed, body-hugging dresses featuring chunks of beading.For embellishment, Williamson's MacGyver-like muse might trim her tweeds in raffia and then knot herself up a bustier with a swingy fringe. Come evening, her parachute becomes a billowing gown shaped by drawstrings and trussed with a leftover length of macramé. The concept yielded mixed and sometimes clunky results, but there were some standouts, including a navy safari blouse tucked into a gold peacock feather skirt and a dark keyhole frock with a neckline edged in silver beading. It's a pity, then, that this girl's all dressed up with only the coconuts to bear witness.
18 September 2010
Resort is the season when you'd expect to find Matthew Williamson at his most Williamsonian. The tropical colors, the eye-popping prints, a caftan or two—the MW oeuvre seems fairly made for those who've got it made in the shade. So it was a surprise to enter Williamson's Resort presentation and find it titled the metropolitan-sounding Mechanical Nature. Whither the fluttering beachwear?As it turns out, to a wholly separate collection Williamson's calling Escape, which launches in tandem with Resort. Giving the upper-deck set its own line has given the designer a chance to embrace the label's more urban side. Hence Resort's pleated, jodhpur-style trousers in navy, black, and taupe; washed napa leather jackets; and structured minidresses. (The lattermost aren't for the office, but the working months have off-hours, too.) For holiday events, a few floor-sweepers riffed on the ruched, bandage-style dress. They were about as cruise deck as it got, though the palette—in what Williamson called coral, poppy, and fluoro lime—stayed true to the house motifs. And of course, there'll never be a season without prints. Here they were what the designer called a "mechanized palm" print (sort of resembling a twisting helix of industrial parts), a geological agate print, and a toucan print. This last, in lurid orange and green, was the most resort-y of Resort—and as such, felt the most out of place. It was a false note in an otherwise strong showing.
14 June 2010
Wait a minute, sorry, I was looking for the Matthew Williamson show. This seems to be Jaeger London. What? ThisisMatthew Williamson? But what about this opening outfit of a tweed short jacket over a matching dress, the one with ruffles going diagonally up the front of the jacket in the manner of an opera scarf worn by women of a certain age the world over? This can't be Williamson, surely.Well, according to the press release on the seats, it was. And then the second outfit confirmed it: a silk multicolored one-shoulder minidress, worn with white ankle boots and tanned bare legs. Perfect for autumn/winter, of course. Now that's more like the Matthew Williamson we know.This designer will always be best known, probably to his grudging chagrin, for making bright young things for bright young things. Some seasons he seems content to do what he does well. And some seasons he does not, and instead gets all experimental and mature on his audience. In this collection, he did both, interspersing frankly baffling forays into pleated tweed and heavy, dull coats with sexy silky dresses that will unquestionably look fantastic on the dance floor in Ibiza.But this is not to say that Williamson should only design for the likes of Olivia Palermo and his perma-muse Sienna Miller, both of whom were in his front row. In fact, he is often very good at designing for older women—inspired, no doubt, by his glorious mother, Maureen, who has been sporting her son's hot pink and turquoise offerings from the very beginning of his career. The best pieces in this collection, in fact, would look great on a grown-up customer. Among them: a long-sleeve silk dress that came out toward the end, with a narrow belted waist; and a pair of sleeveless shift dresses—one in blue, one in silvery tweed—with gently ruffled hems with ribbon piping. These worked precisely because they showed Williamson at his feminine, jewel-colored best. The heavy dresses with embellishment and strange cropped jackets, on the other hand, were as successful as a square peg's attempt to try to force itself into a round hole.
20 February 2010
Boho dresses and breezy caftans may be the top sellers at Matthew Williamson's recently opened Dubai boutique, but they're nowhere to be found in the designer's pre-fall lineup. Instead, there were city-chic options for the kind of girl who might jet off to tropical climates now and again but spends most of her time navigating the concrete jungle. Slouchy trousers with military-style brass buttons were paired with little structured jackets, including a great brocade version with rabbit-fur panels. Williamson dabbled in rainbow hues for evening, but kept the spotlight on short, structured chiffon numbers. It's great to see him so razor-focused, even if it means anyone on the hunt for the psychedelic prints and billowy silhouettes he's famous for will have to go to Dubai.
12 January 2010
When Matthew Williamson left off showing in London, he was the definitive mid-nineties king of boho, a designer whose scope could be easily described as a raspberry cardigan and a fluttery butterfly-print dress. On his arrival back on British soil, however, he presented a whole new slick profile to the audience who'd seen him grow up as a kid from Saint Martins; this is not the same guy who friends like Kate Moss and Jade Jagger used to visit by climbing a rickety staircase in High Holborn. A decade on, Williamson is back to celebrate London fashion week's 25th anniversary, transformed into a man with a brand.In his time away in New York, Williamson learned something about putting on a show. Honed by exposure to that city's demand for brevity in design, this was a much more focused, slim-contoured collection consisting of leather-inserted polished-linen sheath dresses, super-skinny pants, and paper-bag-waisted shorts. There were certainly glimpses of the "old" clubbing-in-Ibiza phase of Williamson's development, in splashes of fluorescent green and the blue-cast UV light captured in a sheer skirt. But the styling these days tethers those tendencies to summer citywear, grounding a lime chiffon blouse with a teal leather skirt, and slipping the tonic shirt under a pantsuit.Anyone expecting Williamson to break out a triumphal finale of flowery nouveau-hippie frocks was left frustrated. He could have made more of the opportunity to let himself go with a nostalgic parade of print-y, floaty things. In the event, there were only three draped orchid-patterned dresses, and the final one—long, strapless ruched chiffon with a pouf below the knee—looked more ballroom than barefoot in the sand.
19 September 2009
Resort found Matthew Williamson in his element: bold prints, tribal beading, barely-there hemlines, and breezy silhouettes, all designed, according to the program notes, for the customer off to her next "hedonistic glamour destination." But for those whose idea of an exotic getaway these days is dim sum in Chinatown, there was still plenty to covet: namely buttery lambskin biker jackets, silk ombré blouses and harem pants, and a top-notch version of the now-ubiquitous chambray jumpsuit. Williamson amped up accessories this season, and to strong effect. Technicolor totes in dizzying kaleidoscope patterns and color-blocked python clutches inMiami Vicehues—priced very competitively, a result of collection-wide reductions—are a fresh alternative to the sensible neutral options we've seen for fall. After all, isn't optimism the new black?
17 June 2009
Let the rest of the world have its basics in neutrals. Matthew Williamson is having none of it. "You have to believe in your vision," said the designer after his show, which presented an exuberant thesis that there is still a place for his riot of color and embellishment—and a fun-loving lass to wear it. The latter was evident, of course, from his stylish fan club-cum-front row—Santigold, Trish Goff, Joy Bryant, and Zoe Kravitz, who pronounced the proceedings "amazing" and kept her sunglasses on throughout.This designer shines brightest for summer, but here he applied himself to making the most of colder climes, bundling cocoonlike ombré coats over leather pants and spangled dresses, layering a tribal beaded tunic over a turtleneck knit, and turning the classic Fair Isle into a cozy twinset of coat and dress. He also used loads of fur—to good effect in the brightly dyed fox in fat stoles, less so in a royal blue coat with silver leather insets that was way over the top. To be honest, there were a few such moments—aren't there always in a Williamson show? But that was easily excused because the designer is clearly in a joyous career phase: an upcoming collaboration with H&M, a possible menswear collection in the offing, and a new Meatpacking District boutique, which opened yesterday. "Fantastic. Not bad," he said when asked about first-day sales. Chances are, it's not empty optimism. Williamson's London boutique just reported its best January in five years.
16 February 2009
Matthew Williamson, who will celebrate the opening of his new Meatpacking District boutique during shows in February, stuck with the tried-and-true for pre-fall. His typically ornate, print- and pattern-heavy lineup was equal parts ethnic (Tibetan-inspired embroidery) and glam rock (sequins, stones, skimpy vests). The more structured leopard minidresses—in a Sprousian palette of electric blue, green, and fuchsia—felt fresh.
12 January 2009
Matthew Williamson is on his own trip. Season in and season out, he practices a particular brand of Ibiza chic: neons, bohemian beading, and caftans are always in his bag of tricks. With bright colors and bold prints on the checklist for retailers (these items' cheery optimism makes them reliable sellers in a depressed economy), Williamson is in step for Spring. Sequined racerback tank maxi dresses in a graphic print jersey will make the cut with stores and longtime fans like Julia Stiles and Joy Bryant, the latter of whom sported one of the designer's sundresses with sandals, despite an impending downpour—how's that for optimism? Also in the plus category: a belted, allover sequin tunic dress; a beaded bed jacket worn with an easy T-shirt and cropped white jeans; and an absolutely electric abstract floral-print chiffon that was used for a very of-the-moment jumpsuit, as well as parachute pants and one of Williamson's signature caftans. He veered too far off course, however, with a black leather bustier and motocross pants. Why mess with a good thing?
8 September 2008
Where in the world is Matthew Williamson? For Resort, the design globe-trotter set his collection in Havana, which played out in three patterns: a mosaic tile print, a graphic stained-glass motif, and a splashy, gold-brushed floral. Along with signature boho-chic embroidered dresses and draped jersey gowns, he experimented with structure in jacquard coats with blouson sleeves and sexy, tailored bustier dresses. While the latter were perfect for his good-time girl, the coats felt clunky. More promising was a small selection of matching beach cover-ups and swimwear. Even girls who might not feel comfortable channeling Jade Jagger in a rainbow gown can easily work a printed bikini and perhaps a caftan while on vacation.
16 June 2008
Matthew Williamson's girl is a global traveler, but for Fall she's returning to her roots. "It's very English in spirit," said the designer. "I had a vision of a girl in the depths of the countryside, rustic and earthy." There were clever Fair Isle sweaters, skirts, and leggings monogrammed with "MW," and day dresses in a rose print that looked like the faded wallpaper you'd find in a cozy cottage. But it became increasingly clear that Williamson's definitions of terms were rather loose. His parkas and anoraks were cut from crinkly metallic nylon and came with fox-trimmed hoods, his shearlings were patent, and as for his boots, his muse won't be getting far in the muck wearing those high-heeled tapestry-covered spectators.Indeed, you can take the boy out of the city, but you can't take the city out of the boy. Williamson's party frocks are what draw stars like Rihanna to his front row—no, unfortunately she didn't emulate Prince's surprise performance at Williamson's Spring show in London. But the designer's chosen theme served him not so well after dark. The neon tree print he used for a long dress and a capeleted mini came off as gimmicky. He'd be smart to keep this romance with the great outdoors brief.
4 February 2008
This globe-trotting British designer celebrated his tenth anniversary in business last year, and he's slated to open his first boutique in Manhattan this June. It's probably no surprise, then, that there was a cheery optimism to his pre-fall designs, which featured brilliant colors, perky prints, and pompom embellishments. Inspired by the Ballets Russes and a Slavic classic calledLa Bayadère(The Temple Dancer), Williamson showcased a ballerina print. For good measure, there were also star patterns and paisleys exploded to abstraction mixed in with rainbow-hued tweeds, Aran-style knits, and rabbit fur pullovers.
17 January 2008
A behatted Prince came late, sat down in the front row. Minutes later, his band filed out at the end of the catwalk and began to jam. Then his dancers Maya and Nandy McClean did their wanton hoochie koo, until they were joined by the singer's statuesque muse, Chelsea Rodgers. The only thing missing was the man himself. Would he? Could he? Ah, he could! He did! Left his seat, picked up his guitar, and played.How did Matthew Williamson's Spring show come to begin with a performance by Prince? Chelsea is apparently a big Williamson fan, so her Svengaliaskedif he could open. That's not the only fortuitous thing that's happened to Matt from the Midlands lately. His company has just been infused with cash from a pair of investment funds, so there was understandably a heightened level of confidence on the catwalk, once Prince had returned to his seat, the audience had regained its composure, and the clothes began to appear.The story was the (by now) familiar one of a stylish nomad traveling around the world with one bag (though, FYI, Williamson's windfall is allowing him to expand his accessories range). The conceit gave the designer the excuse to ladle on his signature ethnic details: Indian beads and pearls on a suede waistcoat, African raffia trim on a sequined top, a Mayan effect to the beading on a hessian shift, all enough to drive a magpie wild.But that's scarcely anything new from Williamson. Maybe that's why the new confidence stood out best in the less gonzo girlie pieces—like the natural linens, or the silk blazers in blurry schoolboy stripes that had a batik-y flair. Better them than the mumsy muslin floor sweeper, one for the vestal virgin in all of us. It was a clunker even if itwashemmed in green sequins. Williamson managed a quick save with a finale of ruffled georgette party frocks. Nowthat'sa girl he gets.
18 September 2007
Matthew Williamson is a dyed-in-the-wool fashion nomad, plucking inspiration from all around the globe to weave into his colorful wares. This season, he claimed to have found his spark on his first visit to Tokyo—a whirlwind 48-hour press trip he took for his bosses at Emilio Pucci. After last spring's much-criticized Day-Glo Ibizan romp, Williamson was aiming for polish and refinement, but his habitual layering of color, texture, and statement-making silhouettes didn't leave much room for either goal. There were metallic brocades, icy jacquards, and heavy, jewel-toned satins, all crusted with chunks of crystal. A vintage streak showed up in the form of patchworked furs, a purple Mondrian-print coat, and palazzo pants topped with patterned Lurex turtlenecks.The collection may have been intended to capture the frenetic energy of a teeming neon metropolis where fashion statements are a national pastime, but on the runway the effect was overwhelming. Amid the visual overload, though, were looks of the sort that Williamson does best, like a slim printed gown in a swirling print on Coco Rocha or a Deco beaded tunic. It might be here that the designer can find what he's been looking for.
3 February 2007
Party clothes are Matthew Williamson's specialty. But last season, after landing the Emilio Pucci gig, he practiced unfamiliar restraint on his own runway in an effort to separate the two labels. Today, the pendulum swung back, way back. Williamson showed a wildly over-the-top collection for a girl on permanent vacation in Ibiza. Colors were psychedelic, prints were loud, and mirrored sequins glinted. The opening look—coral short shorts and a chambray chemise heavily embroidered with wood and plastic beads—had a bit of the relaxed boho vibe he once favored, but from there he went all-out glam with fluoro brights and kaleidoscopic digital prints on smock dresses, sweater vests, and a bathing suit.In the right time and place—i.e. at 4 a.m. on the dance floor at Pacha—some of it could work, the lily pad-print sleeveless minidress, for example. But at 4 o'clock in the afternoon in a West Side ferry terminal quite a few of these pieces looked garish. And there's probably never a right time for the embroidered and studded Mexican peasant top he sent down the runway with floral leggings.
12 September 2006
British fashion darling Matthew Williamson, known for his color sense and use of prints, was recently tapped by LVMH to take over the design reins at Emilio Pucci. Perhaps to differentiate his namesake collection from the surely print-heavy one to come, Williamson's fall show was decidedly toned down. "I'm moving away from hippie in favor of a polished elegance," he said backstage.Signs of this shift were visible in a wonderfully collared coat of varying lengths—and in too many variations, the most notable of which were made of a Lurex-shot mohair bouclé. Prints were limited to three—Aztec, floral, and ombré—and worked into simple dresses with layered hems. The layering of camel cashmere jumpers under pretty sequined pieces was a nice touch; ill-fitting maxi skirts were not. The parade of finale dresses, a series of decorative variations on one style, underscored the generally repetitive nature of the show.
9 February 2006
Industria Studios' sun-drenched interior was an unexpected location for Matthew Williamson's Spring show. Until now, he's been most closely identified with clothes made for the darker, wee hours. These days, though, he seems eager to expand his reputation. The thigh-grazing cashmere cardigan he paired with silk shorts and jacquard trousers is among the most elegant things onto which he's ever sewn his label. The same goes for his pencil skirts with snappy kick pleats in the back.His metallic cotton jacket, vest, and skirt, on the other hand, were appropriate for neither boardroom nor Bungalow 8. But his silk dresses are bound to appear at the latter, perhaps on the backs of his front-row guests Padma Lakshmi and Helena Christensen. This season, they appeared in M.C. Escher and colorful honeycomb prints. There was a smidge too much Rajasthan in his embroidered vest and pearl-dusted heels, but Williamson knows that for his girls, the more beading the better. Among the handful of jewel-encrusted looks, the trompe l'oeil designs and a flapperish dress left the most lasting impressions.
12 September 2005
The Grand Lodge Hall was an apt location for Matthew Williamson's fall show. The space, after all, is the New York Freemason's club house, and the designer's collection had more masculine touches than ever before. To begin with, cashmere turtlenecks came with "epaulets" encrusted with crystals; later, military jackets were cut in gray flannel or Lurex Jacquard. And while pants have never been his strong suit, this season he cut mean tailored trousers that were tucked into knee-high boots or worn long and full over peep-toe sandals.But Williamson hasn't completely abandoned his flair for the feminine—he'd never disappoint front-row fans Sophie Dahl and Padma Lakshmi like that. So there was plenty of beading on Empire-line minidresses and flowing butterfly hem gowns (two of his favorite silhouettes); lace trim on silk camisoles and long-sleeve blouses; and elaborate embroidery on a capelike jacket. One patchwork group showcased his strong color sense, and there were some button-front tops that would work well at the office without being workmanlike—perfect timing, considering this Englishman is on the hunt for real estate for a New York store.
7 February 2005
Matthew Williamson never lets his fans down, generally because they always know what to expect—there are rarely surprises to be found at his shows. True to that, his loyalists are sure to embrace his spring collection, called Beyond the Horizon. He set a pretty stage, with a backdrop of clouds by photographer Sanchita Islam and a front row that included Damon Dash, Amy Sacco, and Plum Sykes. But as a whole, the collection came out somewhat scattered, running from tattoo prints to nautical looks to fluorescent highlights.That hot-hued palette worked best on a sporty striped sweater, but less well on see-through blouses worn with Daisy Dukes. His print of the season—rainbows with metallic stars—was kitschy, but cute in a seventies way. The strongest items were his fit-and-flare dresses, executed with rich peasant touches like smocking and embroidery. A tattoo-print muslin smock dress was also done well, and a gold lamé corset dress should soon show up on a red carpet near you.
9 September 2004
Well, Britney may have been a no-show this year, but Michael Jackson made an appearance, via a mix in the soundtrack that accompanied Matthew Williamson's fall show, “Bubblegum Superstar” —“‘Bubblegum,’” said Williamson, “because there was a lot of pink, and ‘superstar’ because the clothes were sexy and showy, not clothes that you can hide behind.”Williamson himself has never been one to hide from color, and this season was no exception. Flared corduroy pants and very mini skirts were worn with fluorescent stilettos by Christian Louboutin and neon belts fastened, for a change, at the nape of the back. Prints were much in evidence, from the vintage Missoni-like patterns that opened the show to the series of richly hued, Eastern-inspired bird prints that closed it. There was no shortage of decorative elements, either, from sweaters with passementerie embellishments to a series of very covetable fur-trimmed jackets. And if Williamson flirted with an electroclash vibe—via jackets decorated with shiny metallic studs, stars and grommets—the quality of his craftsmanship helped him avoid a reductive retro groove.
11 February 2003
“Hello, is there anybody home?” were the lyrics that opened Matthew Williamson’s second New York show, just seconds after Britney Spears had arrived wearing a printed, beaded top from the designer’s new collection. Signaling the high wattage of the event, her fellow front-row occupants included Helena Christensen, Carine Roitfeld, Mario Testino, and a regiment of Sykes sisters.Titled “Flamingo Bay,” the show was a sumptuous distillation of all Williamson’s strengths into one long, cool fashion cocktail that is sure to be seen around town and in magazine editorials for months to come. The designer’s signature mix of print, pattern, beading and patchwork was perfectly calibrated, especially in a series of breezy, color-infused chiffon dresses and tunics with intricately beaded necklines and the closing series of evening dresses with leafy black overbeading. Yes, there is somebody home, and it looks like he’s going to be around for a while.
19 September 2002
Showing in New York for the first time, Londoner Matthew Williamson presented a collection titled "Kaleidescape" that arrived just like a Gypsy caravan might: embellished to the max and bursting with color.Shocking, tropical hues of rose, peach, yellow and turquoise brightened trenchcoats, minis and pants—low-slung and tapered, or wide-waled and bell-bottomed—while shredded chiffon skirts were swirling patchworks of pattern and hue. Williamson's talisman this season was the number five (marking the number of years he's been in business), which was patched onto pockets, bags, trenches and military-style jackets. The designer's favorite Eastern motifs, like paisleys and abstract florals, made their way onto the beautiful hand-embroidered coat worn by Alek Wek and the chiffon dresses (really strapless saris) that closed the evening. Less successful were his continuing experiments with activewear, especially this season's Airtex dresses.Williamson's pretty, if somewhat predictable, show included pieces that should appeal to both his established clientele and to younger (albeit deep-pocketed) customers. It will be interesting to see if he can develop a new audience by winning over typically black-clad New Yorkers.
12 February 2002
Matthew Williamson dubbed his concise, feel-good collection "Nu-topia," evoking the sort of acid-house resort—think Ibiza, Goa or Phuket—where girls (and boys this season) just want to have fun."Today you are panthers," read the backstage instructions board for the models, "sleek, strong, sexy." In fact, his girls were more fragile than predatory, in fluttering chiffon handkerchief point dresses and tops, ombré-printed with fluorescent rainbow colors. Skintight denim jeans (worn with Christian Louboutin's coin-fringed disco sandals) were patched with quirky assemblages of golden lace and neon-bright butterfly appliqués; even All Star baseball boots were customized with embroidered patchworks made from scraps of antique Maltese lace. (Backstage, the designer was wearing a length as a necktie.)Fringed ponchos, micro-minis, patchwork elephant-leg jeans and shredded silky knits may not have been the freshest fashion news, but Williamson's elaborate detailing and neon palette (with white, gold and bleached blue) made them very much his own. "I thought it was fantastic—The End," squeaked It girl and Rolling Stones scion Leah Woods.
20 September 2001
"Wonderland" was the working title for Matthew Williamson's whirlpool of rainbow sequins, lace, mesh and fur.Contrary to fashion's current mood of pared-down chic, Williamson showed a large selection of paillette-encrusted skirts, tops with glittery messages such as "Drink Me," ruched gold clam-diggers, and cropped sweatshirts and miniskirts with shiny embroidered playing cards. There were also puzzling Playboy bunny-like leather aprons, miniature furs, ravaged tulle skirts, Jackson Pollock-inspired paint-splattered dresses, and a couple of red coats with a ladylike bow that looked lost amidst the sea of over-the-top decoration. Some of Williamson's pieces will add a whimsical and extravagant touch to staid wardrobes, but as a whole the collection seemed oddly out of sync with the fashion moment.
18 February 2001
Matthew Williamson called his collection "Candy Girls," and indeed it seemed like his models dressed up while in the throes of a delightfully giddy sugar rush. A pastel cotton stripy dress with a boa of ribbons twirling around it was just the beginning—not a single dull look followed.Williamson divided his show by groups: Pink, blue and yellow shirts with beaded skirts; turquoise, olive and fuchsia cowl-neck dresses; and a series of aqua-and-navy camouflage camisoles that were more op-art than combat all looked fun and lively. Accessories included thick utility belts, some with a shoulder strap (perfect for lip gloss and cigarettes in place of live ammunition), and contrasting stockings in fluorescent colors that drove the girly message home.The spirit of careless frivolity continued onto the evening pieces, which included everything from a tiny olive miniskirt worn with a military jacket and a ruby medal to flamenco-inspired ruffle dresses. And what better shoes to finish the look than Manolo Blahnik two-tone spikes in rainbow colors?
23 September 2000
Mathew Williamson decided he wanted the audience to concentrate on the clothes, rather than on Jade Jagger's latest look, so he banished his famous fans from the front row to the after-party. It wasn't hard to focus since Williamson opened his show with an attention-grabbing dress made of skeins of crystal worn by the giraffelike Jodie Kidd. He followed this with a show inspired by the colors and shapes of stained-glass windows, with a very modern take. Black dresses with cutout work were backed with hot pinks, limes and oranges to create a very graphic look, and were lit up at the end of the show to great effect. But Williamson's softer pieces were where he excelled: There was a wonderfully chic black silk dress with beaded lime chiffon hidden under pleats; amazingly floaty fishtailed chiffon skirts; and my personal favorite, a Day-Glo yellow chiffon evening dress, backless and pulled in at the waist with a beaded back lace sash. This has to be one of the sexiest, most magical evening dresses I have seen so far this season. And in a season of suits, a splash of romance is utterly refreshing.
13 February 2000
Take a London girl and send her on a trip—through Bali, Goa, and Ibiza—and you have Matthew Williamson's glamorous and seductive vision of a well-dressed gypsy. Williamson's hot fringed-at-the-bottom red suede dress, hand-painted white leather frock and sari tops decorated with neon embroidery and glistening sequins were instant hits. Watch out for his photo print T-shirts covered with jeweled flowers and the newest take on the vest top—purple cashmere with a neon-yellow trim at the arm. Hot stuff for the well-heeled downtown girl.
21 September 1999