As labels go, Marjan Pejoski's KTZ is one of those that rarely sits still. Within a single show, an idea can be overlaid with multiple alternate ideas, or skip off into an entirely different tangent at a moment's notice. It makes the label's collections sometimes startlingly volatile - but its root elements (tribal branding, bold monochromes, aggressively contemporary activewear shapes and surfaces) remain enduringly consistent.
It wasn't hard to see the connection between tonight's show and KTZ's last menswear outing, which melded heroic Grecian sculpture with 21st century body-builder performancewear. But this time the classical influence had a determinedly decorative flavour, with the same outsized plasterwork iconography recast as Napoleonic-era cameo ornaments. Ormolu frames, plaster pinks and pleated muslins extended the Regency reference points, and paved the way for a show which parodied the polished politeness of traditional womenswear with an artillery of dress gloves, coolie hats, gilded cage work patterns and structured flounces.
As a collection, it made for a set of characteristically powerful silhouettes. And, at each extreme, there were elements where the aesthetic worked well - from thickly printed sheer leggings and mesh outerwear, to uncomplicatedly feminine, pretty dresses. But there was a costume-dress dimension which made KTZ's work feel less readily translatable into 21st-century reality than usual - save for a dramatic central section, where Pejoski peeled off in yet another new direction, extruding jet-black, high-gloss reptile skin textures into sinuously 3-dimensional forms.