Christopher Bailey isn’t one to practice “Out with the old and in with the new”.

The chief creative officer of Burberry has certainly put the brand on the forefront of technology – the Spring Summer 2014 runway show saw another breakthrough when the British luxury brand collaborated with Apple. The iPhone 5s was used to capture pictures and videos of the show that took place on September 16 in London. Don’t forget to check out the video below that shows all the highlights of the show taken by the iPhone 5s.

But to the designer, the old is also meant to be embraced with the lace that graced the ensembles being produced on Victorian-era looms and the cashmere pieces heralding from traditional Scotland. Bailey told the Telegraph after the show that he liked the idea of working with old fashion crafts and the contrast between old and new (the Apple collaboration).

What we found refreshing was the collection was devoid of the metal studs and harsh hardware that dominated Burberry Prorsum’s past seasons. In its place was a rainbow of sorbet shades and soft shapes, inspired by the traditional English Rose. There was no stuffy, old fashioned air that surrounded the soft looks but in its place, the floral lace material was mainly sheer – in cheeky Bailey style – revealing high waisted underwear of same or contrasting colour, the look that was found in the Autumn Winter 2013 collection. Although it must be noted that interesting enough – not one look’s hemline went over the knees.

The signature Burberry trench was transformed into sexy dresses, clinched with wide pastel belts – one with mini studs, proving that Bailey couldn’t quite stay away from studs completely. A parade of snug dresses with ’50s necklines that showed off the collarbones and clever draping and ruching was reminiscent of Hitchcock heroines. There was also a presence of sweaters with cut-out backs and cardigans – both snug and Grandpa – part of an alternative ‘50s housewife-inspired styling.

Each look was paired with a bag designed to look like an accompanying afterthought – the clutches were rolled up and squashed, like the daily newspaper one picked up on the way to work.

Bailey also played with proportions, moving to the other end of the spectrum from curve hugging pieces to languid, voluminous pieces. Coat dresses and bathrobes doubled as outerwear and dresses for a relaxed and swingy, more ’60s vibe.

In the last few looks, large flower embellishments made an appearance, especially on Cara Delevingne’s transparent jacket closing look but the English Rose stood strong to the end with the lace outfit under. Altogether, a well-thought and consistent collection from Bailey.

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