At the Gareth Pugh show it looked as if the designer was giving himself a clean sartorial slate to work on. This white-out collection was an amalgamation of all of the codes the designer has used over the years to build his brand, set in shades of white and silver and accented in all manners of plastic.
“I wanted this collection to be a little more unconscious, then maybe trying to go with the whole ‘this season’s about gypsies’ thing,” explained Pugh backstage after his show. “So they are kind of ideas that I have always sort of had in the corner of my eye but I never really thought were appropriate to do. You know that whole thing about self editing, that sometimes can cut you out. So this season was about removing any kind of reference and having a bit of fun,” he added with a smile.
And it was true that this collection of stiff high collared fur coats, sculptural dresses and plastic tab, embellished outerwear wasn’t a derivative of any person, place or time. It was just Pugh out there all on his own, no artifice, doing what he does best. That is to say, creating statement clothing like flowing dresses crafted from plastic trash bags, thigh-high stiff silver, wader boots worn with matching shorts and raw fur pelt dresses that were all ready for their glossy magazine close-ups.
Pugh wasn’t trying to wind up his audience, unless you take two outfits that had giant toy winding keys affixed to their backs. Rather he wanted to give them an optimistic take on his sculptural statement style, which is often dark and gothically driven.
If there is one caveat for this collection, it was the deficient of pieces that looked as if they could exist off a catwalk. Which is a shame because the one ivory suit with its long zip front jacket and floor skimming trousers, a tunic kimono jacket and a stunning sculptural sleeveless dress, all should have had a few more real world brother and sister pieces in to play with.