Discard the singular idea of fashion for purpose alone. This season designers laced the garment with elegance; counteracting any stereotypical connotation the puffa is bulky, unflattering and excessive in volume alone.

Illusional prints, at times iridescent gave strength to a juxtaposing aesthetic for Peter Pilotto as evening wear met casual. His puffa jackets were protective covers to the pleated figure hugging dresses below as vast collars engulfed the neckline, resting on the shoulder. Inspired by the extravagant light trucks of Japan his prints, captivating, were without a doubt instantly recognizable of the Pilotto house and not dissimilar from last season.

Mulberry was, expectantly, more refined. Defined quilting and ribbed necklines sat tightly over midi-waist belts, loosely fitting sweaters and bohemian embroidered lace skirts in fruity persimmon. Jonny Johansson used quilting to help aid Acne’s cocoon aesthetic this season. His silhouette was tight, and his puffa jackets came in the shape of pullovers, buttonless and boat necked. Ribbed cuffing and extreme, almost painful, cinched waists aided Johansson in amplifying his exploding quilting above.

For the men Christopher Bailey produced something sartorial, naturally for the house. Lacquered fabrics formed cropped puffas over single and double-breasted suits. Sitting against flannel caps in loud turquoise there was a touch of continent to the collection.

The emerging of the season delivered Astrid Anderson in shocking pinks. His interpretation was more aggressive, the antithesis of Bailey’s man. Two-toned jackets were heavy and trimmed with fur. Adventurous in print, rock formations were apparent. Paired with mesh and his very own branded sports bottoms. This puffa tapped into original connotations of the garment. It was for warmth above anything else.

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