Other fashion capitals might be renowned for their couture ateliers, where teams meticulously sew in pristine white laboratory coats. However, the Design Museum’s latest exhibition highlights the influential role that London’s vibrant clubbing scene played in the success of British fashion during the 90s.
Titled “Rebel: 30 Years of London Fashion,” the exhibition showcases nearly 100 looks from 300 designers. These range from a tulle gown worn by Rihanna to an inflatable latex suit created for Sam Smith. Vogue fashion critic and guest curator Sarah Mower describes the exhibition as an attempt to answer the question she is frequently asked: “Why are there always so many incredible young designers in Britain?”
One section of the exhibition recreates the ambiance of a nightclub, complete with pulsating music and flashing lights. The clothing displayed in this section is inspired by the nightlife culture. Mower explains that they wanted to pay tribute to the significant impact of club nights on the fashion scene. Notably, the exhibition features Christopher Kane’s fluorescent bandage dress from his debut collection in 2006, which impressed Donatella Versace and led to him being hired by Versus.
Another highlight is Gareth Pugh’s latex bodysuit adorned with giant spheres, which references Soho’s sex shops. Additionally, Charles Jeffrey Loverboy’s 2018 collection includes a floor-sweeping gown featuring smiley face motifs, paying homage to iconic London clubs such as Blitz, Kinky Gerlinky, and Boombox.
The exhibition delves into the fashion landscape of 30 years ago when London Fashion Week was struggling due to a recession. Prominent designers like Vivienne Westwood had started showing in Paris, and the London schedule featured only 14 names. Editors and stylists were reluctant to travel to London. However, the British Fashion Council identified the influence of youth culture as London’s unique offering. They established the NewGen program to support emerging talent, launching the careers of numerous designers. Lee Alexander McQueen, who made his debut at the Ritz hotel as a NewGen designer, is notably absent from the exhibition. His former housemate Simon Ungless recounts how McQueen’s earliest collection was lost after the showcase at the Ritz.
The exhibition also celebrates designers who honed their skills in London, both locally and internationally. Marjan Pejoski, born in North Macedonia, moved to London to study womenswear at Central Saint Martins. His famous “swan dress,” worn by Björk at the 2001 Oscars, will be displayed for the first time in Britain. Grace Wales Bonner, known for exploring black identity and male sexuality with her eponymous label, showcases a neatly tailored navy trousers paired with a crystal and pearl-adorned veil.
The exhibition includes a timeline highlighting the challenges faced by art schools and students today. It emphasizes the shift from free education in 1993 to the introduction of tuition fees under Tony Blair’s leadership. Brexit also discourages many EU students from applying to British universities. Despite these difficulties, the exhibition maintains an optimistic tone. It underscores the rebellious spirit of British designers who challenged conventional ideas and brought about change. For example, Jonathan Anderson faced ridicule from tabloids for his frilly shorts in a 2013 menswear collection and his concept of gender fluidity. However, a few months later, he was appointed as creative director of Loewe and transformed the brand into a highly successful fashion label. Priya Ahluwalia’s collection, made from deadstock materials, reflects her defiance against the fashion industry’s obsession with newness.
Above all, Mower hopes that visitors will leave with a deeper appreciation for the fashion industry. She aims to counteract the prevailing narrative questioning the value of art and fashion degrees, asserting that these designers prove that pursuing a career in fashion can lead to limitless possibilities.
A separate section of the exhibition features four additional noteworthy designs, including Marjan Pejoski’s iconic “swan dress,” which Björk wore at the Oscars in 2001. Matty Bovan’s collection showcases his local influence and sustainable approach, while SS Daley’s creation, made from vintage Laura Ashley curtains, gained prominence when Harry Styles wore it in a music video. Craig Green’s collection, featuring wafting muslin pieces and sail-like sculptures, evoked an emotional response from the audience.
Finally, Erdem Moralıoğlu, a Canadian-born designer who graduated from the Royal College of Art, has spent 18 years demonstrating that couture-level fashion can originate from Britain. His collections have become popular choices among celebrities like Nicole Kidman.
“Rebel: 30 Years of London Fashion” will be on display at the Design Museum in London from September 16 to February 11.
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