A commendable debut runway presentation for the London-based designer.
London has long been known for incubating fresh designer talents — this is the land of Galliano’s, McQueen’s, and McCartney’s, Central Saint Martins, and hard-working spirits. Always pushing onwards, London Fashion Week is perhaps the best of the four familiars with which to spot growing artistry, and in her first-ever catwalk presentation, Edeline Lee commendably placed her name on the list of ones to watch.
Canadian-born yet London-based, Lee staged her Spring/Summer 2025 collection in the historic surroundings of the Millbank Tower, just off the banks of the River Thames. In a risky move, much like any event at any time of the year in England, Lee’s show took place outside, with the audience welcomed into a bustling, fantasy town square. With cobbled road, a classic navy Alfa Romeo, and stacks of newspapers, this was not a community meeting place of this century. A distinct shift from the bubbling backstage which was, as far as fashion shows are concerned, laudably calm.
Produced in collaboration with award-winning movement director and choreographer Shelley Maxwell, Lee’s models perused the “square” in fluid motion, only nearing the audience to pose momentarily for the pre-positioned camera. Strolling around and interacting lightly with each other, one’s attention was constantly engaged, helped in part by a largely classical soundtrack that was choppily mixed at times. Maxwell commented in the show’s notes, “I have loved collaborating with Edeline on this heightened exploration of everyday movement on a fashion stage.”
Of her latest work, Lee said she wished to “present the meaning and the purpose behind the brand: to serve women, to design clothes that make them feel polished, read, and powerful.” Power was certainly on the agenda, no doubt upheld by the noted presence of Victoria Starmer, the wife of the latest Prime Minister. Her presence has drawn criticism as she and her husband navigate rows over the donation of free clothes to the couple by a Labour donor. Nevertheless, Lady Starmer’s attendance highlights a key pillar of holding power in this country as a woman — the ability to promote the British fashion industry, something she shares with the Princess of Wales, who wore the brand’s Perdenal Dress during a visit to The Design Museum in 2022.
For Spring/Summer 2025, Lee chose to experiment with structure, certainly inspired by her time apprenticing in the studios of Alexander McQueen, John Galliano, and Zac Posen. This effortless construction, shown in tones of blue, white, powdery pinks and yellow, built an image of a woman who is, without great attempt, prepared for all sartorial needs, with practicality of high importance. With one glance it is clear the target demographic for this house are the yummy mummy’s of Wimbledon who, as they well should, aim to retain their sense of self and, most importantly, have spare cash to disburse.
Lee’s subtle architecture shone brightest under the house’s signature Flou Bubble Jacquard in a new painted polka dot print, designed in association with Carolina Mazzolari. Her closing look, a corseted, strapless, full-length gown featuring tasselled detailing and a dramatic cape, introduced Lee’s ability to design for the rarer occasions in life. Should we expect to see Lee’s work flow onto the red carpet? Time will tell. 🌀 7.0
Molly Elizabeth is a freelance fashion writer and commentator based in London.
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