In a Mayfair art gallery, I found myself seated at my first London Fashion Week show. Banshee of Savile Row—”the only fully bespoke tailoring house for women on Savile Row,” I read in the press release. And then I read it again, thinking, surely that can’t be right? In the era of the girl boss and the empowered career woman, where exactly am I supposed to buy my power suit?
Watching the show was a hypnotic experience. Designer Ruby Slevin collaborated with artist Eleanor Ekserdjian, known for her contemporary landscapes, to create something truly immersive. The gallery’s L-shaped runway framed a striking performance. At its centre, a model stood on a platform as Ekserdjian painted her pristine white tailored coat with deliberate, sweeping strokes of black ink. The meditative soundtrack by Madison Welling—delicate high notes contrasted with strong beats—enhanced the moment, setting the tone for the collection.
The show embodied the essence of Banshee. In Irish mythology, the banshee is a fairy woman, a figure that moves between worlds—a fitting metaphor for the multifaceted roles of a working woman. This interplay between realms was reflected not just in the music, but in the designs themselves.
Whilst the pattern on the coat gradually took shape, brushstroke by brushstroke, models walked the runway with quiet confidence, dressed in outfits that can only be described as effortlessly chic. Each garment was flawlessly tailored and fit impeccably.
Silk shirts printed with Eleanor’s abstract artwork provided a striking contrast to the structured elegance of tweed, velvet, and linen suits. A standout piece for me was a matching brown plaid three-piece-suit. The bold repeated pattern made a statement while remaining effortlessly stylish.
While the tailoring suggests a more serious garment, Ruby Slevin’s work still brings an element of playfulness, with a burgundy velvet suit, paired with a coral shirt and blush pink tie. The styling of tonal colours, along with a bold fabric like velvet, makes it clear these suits aren’t just for the workplace. I also appreciate that her tailored suits, historically worn by men, don’t shy away from femininity. Whether through colour, shape, or fabric choice, the element of female empowerment, central to the brand, is distinct throughout the designs.
With impeccable timing, Eleanor finished painting the white double-breasted coat just as the models had presented all their looks. The show came to a close with a huge round of applause. It was a medley of creative disciplines, combining fashion, art, and music, showcasing the imagination and serious tailoring skills.
After the show, I took a closer look at some of Eleanor’s artwork—a selection of her oil paintings and ink drawings, displayed on the gallery walls, created during her residency in Scotland.
As I perused the paintings, I couldn’t help but think about the lack of options for women on Savile Row. While it’s worth noting that progress has been made, with many tailoring houses now catering to both men and women, it remains a tough, male-oriented industry. It’s still difficult to find a tailoring house exclusively for women on Savile Row. Some female tailors are even mistaken for assistants or dismissed as a tailor’s wife. With the uniqueness of every body type, clothing tailored to each individual woman—made by women who understand the importance of a well-fitting suit—remains crucial in the fashion industry, especially given the inconsistencies in women’s sizing.
This scarcity of female tailors isn’t unique to Savile Row. Taking a step back to view the fashion world today, you might be surprised to discover that there is a severe lack of female creative directors in the luxury sector (amongst other diversity issues). In an industry stereotypically associated with femininity, brands like Burberry, Balenciaga, Loewe, Chanel, and Celine all currently have male creative directors. This imbalance is incredibly disappointing, especially when, in 2024, only 3 of LVMH’s 14 brands were led by female creative directors. The issue even traces back to the notorious design school, Central Saint Martins, known for producing talented fashion designers. Despite the fact that 70% of their students are women, in 2017 only 30% of their design curriculum focused on the work of female fashion designers. Eight years later, I hope this statistic has changed.
Ruby Slevin’s show for Banshee of Savile Row was mesmerising to watch, a perfect balance of traditional tailoring, combined with fresh, modern art by Eleanor Ekserdjian—two powerful women in a male-dominated industry.
