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Gareth Pugh’s intriguing collection sent you searching for a raison d’être. Surely there must be a unifying theme to account for the mirror looks…and the ones made from great draped swaths of plastic construction sheeting…and those that were insanely soigné, in almost a New Look kind of way, and created out of some scrunchy white material that from a distance resembled curly lamb’s wool.
Not to mention the disco-ball effect of square plastic paillettes, and the squared-off construction of sculptural sleeves, and the twisted trouser-boot hybrids, and—can’t forget—the animal pelts, and the clear shell covering on looks in neutral tones of cream and sand. You searched for some kind of key—a metaphorical one to match the literal one that was affixed to the back of a couple of looks—to define all this fashion, much of which was high-impact memorable. And if you came up empty-handed, maybe that’s OK, because after his show tonight Pugh pretty much copped to the fact that there wasn’t necessarily a statement here.
photo tatajazzblog.blogspot.com
photo thebestfashionblog.com
According to the designer, he was being “intuitive” this season and seeing where that got him. Fair enough. In the end, it got him a collection made up of moments and parts. A sharp belted coat in beige here, a dress and cape made of pelts there. The latter was among the looks that pointed at a possible theme: You could imagine this being the very pith of chic in some postapocalyptic world, women scavenging glamour from plastic sheeting, animal skins, and whatever else was left lying around. Considered from that angle, this Gareth Pugh show had a real sense of optimism.
photo denimjeansobserver.com
photo djursh.blogspot.com
via style.com
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