He is known for admitting his darker inspirations in a tongue-in-cheek manner. His mild obsession with dead socialites is continued throughout this collection and this is clear from his self-confessed inspiration taken from Mrs Simpson. The one consistency is the attention to structuring that works to accentuate the female form without revealing too much. It oozes elegant femininity with knee and calf-length dresses that are nipped in at the waist with a perfection that is becoming rapidly the Afghan-British designer’s signature quality.
His concentration on structure paired with shaping in all of the right places is clearly evident in this collection. The designs are dignified and glamorous and this key focus has ensured that he has a loyal following in the fashion set, particularly among an older audience that some of Osman’s contemporary bright young things of London Fashion Week fail to appeal to in terms of wearability and accessibility.
Sarah Brown commissioned him to design outfits for 2010’s election campaign, demonstrating how his solid understanding of structuring and draping simultaneously in his designs is a means of accentuating the female form in the correct places.
There’s an exceptional use of colour in his spring/summer collection with black being the core constant, with variations including yellow, brown, beige and salson being included in this broad palette. Similarly the use of fabrics varied from extremes of rough wool to sleek PVC.
Along with dead debutantes, a clear theme that continues throughout his designs is his influences drawn from military wear and ethnic styles. These key signature styles are yet again evident in this collection, with military being evident in the strong tailoring. There are still examples of his love for all things tribal with subtle accessories such as African-influenced elaborate earrings.
This collection provided elegance with a twist, and shows expressively just why he is a firm favourite and will be for years to come.
Photo by Artee-Lynne Mamawag