Who would have ever known, that during confinement, when our clothes were all about lazy-wear, one could come up with such beautiful refinement? Richard Malone, the Irish designer, brought back elegance to London Fashion Week, done in his signature, sustainable way. It was those months which became the genesis for the spring-summer 2021 collection, a period when, even without a team or regular resources at his disposal, he had the luxury of time: the opportunity to rifle through deadstock materials and hand-dye them in his bathtub, or tie them with twine and run them through his washing machine to achieve the right crinkled effect. “Because my language is very much making, perhaps lockdown wasn’t so bad for me,” he noted. “I could just do whatever I wanted in my studio. It was a distraction.” DIY as it was, the luxurious feeling that Malone came up with is just so refreshing: velvets dramatically draped into floor-sweeping Grecian numbers; discarded theater curtains cut into body-con glamour or gathered around padded bustles. “They’re fabrics that lend themselves to lounging—the velour is like Juicy Couture tracksuit material,” he smiles. “It’s comfortable; it’s loungewear.” He was clearly going for a sense of comfort in the armor of sutured breastplates and the padding of cushioned hips. “It wasn’t intentional but I was trying everything on as I designed it and I suppose it was in response to the moment,” he reflects (Malone has always worked as his own fit model in the formative stages of his collections). “I hadn’t worn shoes for three months. Everything, the very idea of clothes, felt abstract.” The abundant historical allusions, too, were instinctual rather than referential. Without access to research libraries, “I was reliant on the guise of memory,” he says. “And I read a lot of books about time: Iain Reid, Doireann Ní Ghríofa, Ali Smith… I was interested in the idea of how all these different time periods can somehow exist at once.” Cropped and gathered matador boleros, their shoulders warped into shrugs, evolved from the idea that “everything’s sort of fucked, so you shrug and you move on” rather than the usual archival imagery; corseted lace-up backs from the simple fact that Malone was having to somehow strap himself into the more elaborate numbers. Sometimes, the simplicity of an accident brings the most spectacular effects.
Collage by Edward Kanarecki.