Remember the name Harris Reed? The young designer who burst onto the scene in 2020, transforming Central Saint Martins sketches into Harry Styles’ wardrobe staples overnight? But even meteoric rises can face turbulence. The fashion industry’s fickle winds can leave young talents feeling repetitive, lost in their own echoes.
That’s where Reed’s Fall 2024 collection, unveiled at London Fashion Week, became a triumphant declaration. It was not just a new chapter, it was a whole novel – a testament to his ambition and boundless imagination.
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Gone were the fears of stagnation. Instead, 19th-century shadow puppets and their whimsical illustrations took centre stage, inspiring a paper doll approach to design. Imagine cutting out shapes, and then dressing them in mismatched patterns and textures – that’s the essence of the collection.
Think of a dramatic peplum bustier paired with a sleek black column skirt, or a sculptural jumpsuit with a flowing, one-sided draped waist. Corsets cinched at the knees while cascading hand-beaded fringe transforms gowns into breathtaking stage curtains.
But it’s not just about silhouettes. Reed repurposed vintage Fromental wallpaper, each panel hand-painted and embroidered with blooming florals. It was as if a child, the show notes suggest, cut up leftover wallpaper to dress their paper doll – playful, personal, and bursting with life.
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With only 10 looks, the collection was tight and focused. Each piece, while adhering to the overarching exploration of shape and curve, stands distinct – a puzzle piece revealing a larger story. Familiar codes – rounded shapes, corsetry, Vivienne Lake-inspired headpieces – remained for loyal fans, yet they were pushed forward, reinvented with fresh energy.
This is Harris Reed redefining himself, not just evolving, but exploding. He’s a designer unafraid to deconstruct, play, and tell a captivating story – one that leaves fashion critics and fans alike eager to see what chapter comes next.