Masha Popova AW24
Words by: Katie Ross
Masha Popova AW24: boobs, bums, tums, and baubles
The Ukranian-born Central Saint Martins graduate showcased her newest collection at The Old Selfridges Hotel yesterday
This London Fashion Week, we see a different Masha Popova. Naturally, the cornerstone of the Ukrainian-born, London-based designer’s AW24 collection, entitled GLI$TEN (in a delightfully Kesha circa 2010 way) was her trademark stitch-and-reveal technique. Though we’re used to seeing these relegated almost exclusively to denim, this time Popova has extended her signature treatment to the likes of jersey, too, in the form of knee-skimming leggings, slouched off-shoulder tops and spliced midi skirts.
However, GLI$TEN marks a new era of inspiration for Popova. Where in the past we have seen her attack 80s sportswear, 90s haute couture and most prominently the Y2K era with her work, she appears to have somewhat moved on. I say somewhat because we never fully move on from our true loves and her signature style remains signature.
The natural progression from Y2K? Indie sleaze, of course. Popova has subverted the somewhat hysteric glamour of the era inspired by The Bling Ring (2013) and Skins – teenage Effy would certainly have been wearing Masha Popova AW24 if she could afford it, and certainly would have been caught at a club blaring the same aggressive dance music.
And as is the way with the renaissance of trends, designers have had time to take stock, and more importantly have a reference point, allowing them to decide what (and how) aspects of it get reinstated, what gets added and what gets left on the cutting room floor. Thus, Popova has perfected the unputtogetherness of the indie sleaze era in her own image, in a quasi-pastel colour palette no less.
GLI$TEN reincarnated many of the items we thought (and perhaps hoped) would be buried with the end of the 2010s (oversized belts, leggings under mini skirts et al), elevating them in a way that made viewers feel that certain classic silhouettes had been created by Popova herself. With butt cheek-baring cut-out pants and skirts, twist-front hip-revealing jeans and deconstructed plaid trench coats, this was cleavage, stomach and a$$ like you’ve never seen them before.
Popova is no stranger to strange silhouettes, invariably showcasing a wider range than you thought was possible. GLI$TEN was no exception, her final look boasting a pair of washed grey leggings and a scarlet silk devoré pirate shirt, slashed open and held together with a bauble at the neck and naturally, a belt around the hips.
Giant gold adornments were a noticeable recurrence throughout the show, with gold baubles and star charms dangling from necks, belt loops and the belts themselves. Beads were big in the 2010s (figuratively and literally) and Popova hasn’t only yassified their original form to create aforementioned semi-festive accessories, but has used them as inspiration for stitch-and-reveal swirl prints on garments across the collection.
