It was earlier this year, at Paris Fashion week when British designer, Gareth Pugh took us on a dark journey pertaining to the stark and unsettling image of death.
It was the styling and make-up, which gave the show a hauntingly ghost like feel that transformed both models and Pugh's designs into unyielding structural forces.
The monastically long hem lines, and high necks gave the show a Couture touch, and although
the 'Ready to Wear' aspect of the collection may be called into question, it is the separates which prove surprisingly versatile.
You can imagine the clean lined, wrap over jackets over a pair of skinny jeans. You can imagine the delicate branch print, snaking its way up more commercial interpretations of the collection, and onto accessories.
But it is the immaculate execution of the relationship between both garment and mood, that makes this show so impressive.
It was the styling and make-up, which gave the show a hauntingly ghost like feel that transformed both models and Pugh's designs into unyielding structural forces.
The monastically long hem lines, and high necks gave the show a Couture touch, and although
the 'Ready to Wear' aspect of the collection may be called into question, it is the separates which prove surprisingly versatile.
You can imagine the clean lined, wrap over jackets over a pair of skinny jeans. You can imagine the delicate branch print, snaking its way up more commercial interpretations of the collection, and onto accessories.
But it is the immaculate execution of the relationship between both garment and mood, that makes this show so impressive.
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