Paul Costelloe AW22 – A regal return to London Fashion Week

Text by Brian James & Leigh Maynard
Photo by Marharba Brunch at Sumosan Twiga, London

As London Fashion Week continued to follow the phygital format it had embraced since original lockdown rules were first lifted, one designer who had followed that digital path throughout the pandemic chose to re-enter the world of the physical fashion show with his AW22 collection.

That designer was Irish-American, London-based Paul Costelloe. While some aficionados had been fortunate enough to be invited to visit his studio last September to get a close-up and personal view of the SS22 collection, AW22 would be his first runway show in exactly two years. One that would see him bring his latest collection back to the majestic Waldorf Hilton Hotel in central London. One that prior to the pandemic had become a must-see LFW destination for his legion of fans and industry insiders. And as attendees gathered outside the Hotel in the Aldwych sunshine, there was a palpable sense of excitement coupled with a feeling that the return of a Paul Costelloe runway show also signalled the return to something more akin to a pre-pandemic Fashion Week.

Paul was kind enough to chat with us before the show, and we wanted to know how he felt returning with a physical show to the Waldorf Hilton, a venue we suggested was the brand’s spiritual London Fashion Week home.

He told us that he had staged virtual digital shows at the venue during the previous two seasons, which had involved fewer models and less expense due to the format, laughingly adding that it had also involved fewer interviews. Paul’s view, however, was that it wasn’t fashion as he knew it. Paul likened it to virtual horse racing, which can be fun but doesn’t deliver the true racing experience.

As he told us, “It’s the test of the designer to get it (the collection) out on the catwalk, and it’s a challenge, and it’s a challenge because we haven’t done it for a couple of seasons now. So yes, it’s great to be back, and we’re back on the horse again”.

Paul went on to explain that the inspiration for his latest collection was partly spiritual and also inspired by the Queen, whose 70 years on the throne platinum anniversary is being celebrated during 2022. Adding that being Irish, he doesn’t particularly worry about the Queen; this year’s events had made him think about all things Royal, particularly the Elizabethan and Tudor eras when the English, along with the French, had been incredibly well-dressed.

His consideration of what was historically described as a Golden Age in world history had been further heightened by the large number of TV and movie costume dramas that have aired during the last two years. In particular, he cited a beautifully photographed film called “The Green Knight”, which he fell in love with, and which carried the additional connection that his son William had been involved in the making of it. He added that he wanted the collection to be imbued with a certain spooky sensibility and chose models who he felt had a Renaissance look about them, an aura which was amplified through the hairstyles that had been created for the show.

Returning to the Irish heritage that flows through the brand’s DNA and his own, Paul told us that for this collection, he had sourced tweeds from Magee’s of County Donegal and prints from William Clark in Maghera, Northern Ireland.

As he explained, “I worked in Northern Ireland for a long, long time way back in the 80s during The Troubles, so I’ve got a great appreciation of Northern Ireland and the people there and their commitment to hard work. So, I really enjoyed that particular side, enjoyed being part of it, and we can work so much better together if we just relax a little bit”.

The show itself, which we watched in the chandeliered splendour of the Waldorf’s Palm Court, more than delivered the inspirational aspirations that the designer had strived for. The lavish gold of the Renaissance coalesced with a Tudor palette of blues, Van Dyke browns and red. A theme that continued through marl-twist knitwear in the most sumptuous of ochre tones while pleated organza ruffs and in-house created prints complimented the most exquisite brocade jacquards. All accessorized with gorgeous gold and silver bags and the most intricate jewellery sourced from Nidhi of India and Blaithin Ellis of Ireland.

As always, Paul Costelloe’s meticulous attention to craftmanship was self-evident in the pure wool statement coats, timeless but achingly contemporary tweed jackets, metallic party wear, regal ruffles and ruffs. With that attention to detail and precision of thought extending to the casting, and models hair and make-up.

It was a visual tour-de-force, and for those of us who have come to view the Paul Costelloe runway show as the benchmark of what exemplifies our London Fashion week experience, a sign that things are returning as near to fashion normality as they possibly will.

Asking Paul after the show how about his goals and plans for the rest of the year, he replied with trademark humility and self-deprecating humour that he is one of these people who just thinks of today and is blessed to be able to get up the next day.

We are certainly blessed to have a designer of Paul’s stature among us and are excited to see what he brings us today, tomorrow and the day after.

Many thanks to Paul for giving us so much of his time backstage prior to what was his return to a physical format after a two-year hiatus. Thanks also to Rob and the team at Trace Publicity for arranging it all.