There are many reasons to adore Róisín Murphy. From her days with Moloko to the Italian-disco inspired EP titled Mi senti, this idiosyncratic Irish singer is a true gem. Even if you’re not a total sucker for her electronic tunes, you’ve got to admit that her style is bomb. While today she rather wears Vetements tea-dresses and garments coming fresh from graduate designers’ studios, back in her Overpowered period Murphy wore the most extravagant garments coming from, for example, Viktor & Rolf (she had a life performance at the brand’s spring-summer 2010 fashion show as well). But also, she had the most memorable Gareth Pugh coat moment in the video-clip of the album’s namesake track. Later, in Let Me Know, Róisín graciously danced and messed around in a cheesy bistro, wearing a Maison Margiela cape and bold fuchsia gloves (that was the moment I fell in love with fashion, really, at age of eight). And today, when I listen to Dear Miami or You Know Me Better, it’s unbelievable that Murphy was more ‘2017’ than any other musician today. Back in 2007!
Gareth Pugh‘s spring-summer 2018 look-book (the designer has ditched the runway to focus on fashion, not the frame around it) is one of those incredible, but underrated collections, which you’ve got to digest after seeing first. It was a literal explosion of forms and silhouettes, whether we’re speaking of the red column gowns or cage-like armours that resembled a surreal, outer-skeleton. It’s a season of colour, but none of the designers used red in such a furious way. Those red-splattered garments (they hardly can be called regular ‘clothes’) were as equally dynamic as the fire print that covered the dresses. My favourite part of this collection is definitely the crinkled, metallic story. The effect? As if Gareth dripped the body in liquid gold and let it dry. Or simply packed it in shiny wrapping paper. But of course it was much more complex than that! The collection itself isn’t everything that Pugh has in offer this season. Together with the visionary photographer, Nick Knight, the designer directed a thrilling visual that could easily be called a very hi-tech horror with emphasis put on jaw-dripping clothing. Note, it’s very NSFW.
The theme behind Gareth Pugh‘s autumn-winter 2016 collection is women empowerment – which dangerously blurs between a strong political statement and S&M nods. The models, wearing exaggerated, yet appealing Mugler-ish silhouettes and leather skirts looked fierce and powerful – while the sleek blazers, sheer turtlenecks and gorgeous, leg-flattering flares in camel beige made these women feel as the ones you don’t want to mess up with – and surely not if you are man. What caught the eye of the observant ones were the details. Suitcases were handcuffed to models’ wrists; the aggressive “man-eater” masks were made of leather, and had this “danger zone” aura all aorund the place; painfully tied strings around the faces were surely trouble-some for most of the cast, but looked sharp with the plum-red lips. And this Tom-Ford-at-Gucci era vibe, which is a contrast towards Pugh’s previous, much more arty collections. Although I’m not ultimately certain whether I like or dislike this collection – it was one of the most confident and self-assured outings of the season.
Boudicca. England. Brave women. Gareth Pugh celebrates 10 years of his label, and this moment is seriously a highlight. In his AW15, the mad prince of British fashion brings fetish leather, sexy volumes and dark queen silhouettes, which all suggest one thing – the avant-garde British fashion is alive. Thankfully, Gareth Pugh continues Alexander McQueen’s legacy of fashion which got balls. For this specific show, the models had their faces and torso painted with red while the hair was cut in a boyish, home-like way. Fur, plastic, leather, wool were presented in a pretty sharp way, belted and covered with chains. I love this collection not only because its avant-garde and ultra-British, but because it’s not so retail-friendly… and it sums up first 10 years of Gareth’s fashion career.