A kaleidescopic collection of all our favourite invitations from the S/S 2011 Womenswear Collections.
They are, in order, as follows:
Acne (front) sent out a thick black-foiled invitation card. On the reverse of the Acne invitation card, the guest’s hand-written name was underlined with purple foil.
Jil Sander’s fluorescent invitation reflected the sizzling-coloured collection, an then opened to reveal a shocking-pink interior.
Pringle of Scotland’s white-foiled card featured a stylised negative image of a scene from the label’s latest advertising campaign, shot near Nairn.
Fendi’s invitation appeared scorched – as did the collection – thanks to dyed, laser-cut organza.
Versus’s floral offering echoed both the micro-prints and the abundance of geometric shapes in the collection.
Richard Nicoll’s invitation was screen-printed on vinyl with the print appearing in retro typewriter typography.
From Emilio Pucci came a piece of tan stiched leather with gold embossed lettering.
Marni sent out a simple, glossy and sunny card.
Giorgio Armani’s blue, fabric-covered invitation set the tone for a marine-coloured show that was big on texture.
Margaret Howell sent a fold-out poster that opened out to reveal the crinkled surface of a shirt. The inside of this folded invitation was patterned with a shirt’s crinkles.
Church’s stiff-board invitation was decorated with the pattern of a brogue shoe embossed with silver-foiled bubbles.
The stiff-board invitation to Sass & Bide’s ‘Papa Sucre’ collection was capped by a tangle of crinkley raffia straw.
A nondescript cardboard exterior folded open to reveal Prada’s deep blue invitation.
Gucci’s rigourously duo chromatic invitation.
Giles Deacon’s invitation came on a label attached to a paper version of his trademark sunglasses. The reverse of the label featured a cheeky cartoon character.
Céline’s double-paper stock invitation was reinforced by thick card.
Fendi’s black and gold offering. On the reverse, guest performers Duran Duran’s name came emblazoned in a thick, fluorescent glossy print.
Chanel’s floral offering.
Emanuel Ungaro’s embossed logo adorned triplexed board with a subtle pink rim.
The designer’s firstname was spelt out in fluorescent elastic bands on a thick silver card, with purple edging, on the Stella McCartney invitation.
Junya Watanabe’s delicate tissue paper offering.
The Miu Miu invitation featured bold, embossed blocks of fluorescent yellow… …as did the envelope.
One side of Loewe’s extra thick, gilt-edged card had a leather-like texture… …while the other featured simple, printed pink paper.
Wunderkind’s multi-paper stock invitation came erratically stapled together.
Givenchy by Riccardo Tisci’s offering incorporated a dye-cut, detachable woman’s face in leopard print… …while the reverse featured a rocky beach scene.
Louis Vuitton’s gold-foiled fabric card invitation.
Hermès sent out a leather invitation with a hole-punched logo and debossed lettering.
Ackermann’s invitation came emblazoned with a super-glossy, blue paint logo, with black debossed show details.
Neil Barrett made the envelope a feature by outsizing the card.
John Galliano’s canvas invitation featured a moody sketch of woman’s face. The show details came printed on the back.
At first glance, the Yohji Yamamoto invitation looked like a simple, glossy back card with a mysterious dye-cut strip… …but, when you pulled on the subtly protruding back strip, it revealed a glittery blaze of colour.
The Hermès and Colette collaboration invitation incorporated images of their limited edition scarves. The reverse came printed in the style of an old-school label maker.