8.45am: As the third day of London Fashion Week got underway, talk was centred around the heels on the front row this morning, the theatrical production and the clothes that matched it at Thomas Tait last night, and the spectacle that was Rihanna for River Island, which saw models Jourdan Dunn and Cara Delevingne in the front row rather than on the catwalk.
Excitement was also building for the shows ahead: Mulberry, Topshop Unique, Matthew Williamson and Vivienne Westwood.
BritishVogue tweeted: Lots of seriously high heels being rocked this morning - and front row chat is how good Thomas Tait's #lfw show was last night
Casting director Angus Munro tweeted: Slight schoolboy excitement about our Matthew Williamson show this afternoon. Cast is rocking (even if I say so myself) proud or smug … hmm
9.15am: Preen applied its grown-up design principles to punk, forgoing buttons for zip detailing. Black and red were the main colours here, given a glam edge with with silver embellishment.
9.50am: Holly Fulton continued the ladylike punk trend with her show at the Me Hotel opposite Somerset House, but unlike Thornton Bregazzi at Preen, Fulton didn’t shy away from pattern, colour and embellishment in her designs. Tattoo-print jackets, bold, flower-patterned, full-length dresses, pencil skirts and strong red lips formed this confident look.
10.37am: The Claridges Hotel has been turned into a magical butterfly garden for the Mulberry show and guests arrive carrying their butterfly-shaped invitations.
Sarah Bogott tweeted: How beautiful is the @ClaridgesHotel ballroom entrance! Butterflies and flowers everywhere for @Mulberry_Editor! #LFW #Mulberry
11.16am: Mulberry debuted new prints and new shapes on the catwalk this season. Delicate embroidery inspired by botanical prints and wild flowers featured on cropped flared trousers. From the second look – a brown leather flared skirt and cape – it was clear that bell sleeves would be the standout Mulberry design this season. The bell was not only the key shape for sleeves; dresses were also bell-shaped and formed cocoon-like structures around models as they walked. Colours were muted, in contrast to those seen on many catwalks this season. Blush pinks, brown and navy featured heavily in solid colour, luxurious jacquards and checks both large and micro-sized. The Willow tote and a new shape for the popular Bayswater also made their debuts. Cara Delevingne closed the show in a bell-shaped coat – the signature Mulberry style for this season.
11.45am: Attention now turns to the shows of the afternoon as Temperley, Vivienne Westwood, Jonathan Saunders and Mary Katrantzou prepare to take to the runway.
12.17pm: At Temperley there were 60s-influenced, ladylike shapes in a monochrome palette of black, cream, royal blue and emerald green. Swing coats featured heavily, offset by knit dresses and 80s-influenced, wide-leg trouser suits. Gold details were an almost Egyptian influence. While Temperley’s signature beading was evident, it was even more subtle and sophisticated than usual in this grown-up collection.
Creative Head magazine tweeted: Twisted buns, inspired by Hitchcock heroines at Temperley this morning by Malcolm Edwards for @lorealprofuk.
Chris Liu tweeted: Temperley was just pure elegance. Beautiful dresses, as usual, and amazing Charlotte Olympia heels. #LFW
Caroline Kent tweeted: 60s hitchcock heroine at #temperley pristine cashmere and checkered British wool, peppered with art deco embellishment explosions #lfw
12.05pm: Meanwhile, British high street brand Whistles, a favourite of the Duchess of Cambridge, showed its first runway collection.
Alex Fullerton tweeted: Well, everything I need for Autumn just flashed before me at @whistlesPR's first #LFW presentation. Camo! Marbling! Emerald leather!
1.15pm: Global Blue’s online editor Kirsty Welsh arrives at the Saatchi Gallery.
Dropping in backstage at Vivienne Westwood’s Red Label show, where make-up genius Val Garland guided us through her inspiration for the show – ‘drawing a picture on a canvas’ using a palette of primary colours. The result is created to be more like a painting or an illustration than a standard make-up look.
1.45pm: The Kinder Aggugini show running late gives associate online editor Sally Ashley-Cound time to explore the roof top terrace of the Me Hotel. Views of the Shard, Gherkin, London Eye and Thames look stunning in the sunshine.
2.00pm: The Kinder Aggugini show started 30 minutes late but didn’t disappoint on the show notes, which mentioned the Cottingley Fairies hoax as inspiration. Mushroom-print tea dresses and floor-length gowns flowed through the roof-top venue, while dark velvet, high necks and lace gave the collection a more dramatic, Victorian feel.
2.40pm: After waiting 40 minutes for the show to begin, we were treated to ladylike glamour at the Vivienne Westwood Red Label show, with metallic sheen making an appearance on evening dresses, skirts, clutches, brogues and brooches.
4.30pm: A quick stop at the Nicole Farhi offices for an appointment to see the new collection. Sky blue, fawn, maroon and purple knitwear are the standout pieces in this collection. Details on white shirts and dresses included Mondrian-style lines of tweed in contrasting colours, while pieces in silver and white provided a lighter touch.
7.00pm: In keeping with his well-known support of the arts, Paul Smith chose one of Tate Britain’s cavernous galleries for his show. Colour blocking was the key theme and 80s shapes were seen in colour-clashing shirts and jackets. Coats were lined with a print of a photograph Paul Smith had taken himself and it was also seen on mini-dresses and trousers, appearing in red, silver and turquoise.
8.56pm: At Marios Schwab cocoon-shouldered mini and floor-skimming dresses in deep red and teal velvet had slit sleeves which formed cape-like shapes. This suitably dark and mysterious collection for the last show of the day finished with floor-length, layered dresses which were embellished on the inside and crackled as they moved, and velvet dresses with plunging sweetheart necklines – again with the cocoon shape seen earlier at the shoulder.