It wouldn’t be a Sibling show if it were not in the least boisterous. This season the trio looked to Debbie Harry of Blondie to rival the riotous all-pink men’s affair in January. Adam Ant’s “Deutscher Girls” ushered in Aztec-print slinky knits; Merino sweaters emblazoned with the title of the 1980’s American Gigolo soundtrack “Call Me”; and under layer dresses with handwritten lyrics. To borrow words from “Sunday Girl”, the collection could be summed up in Blondie’s expression, “I know a girl from a lonely street, cold as ice cream, but still as sweet”.
Each season seems to reveal another facet of Sibling’s vast, visual vocabulary. This small town, unattainably cool girl witnessed today reminds us a lot of Cozette McCreery, the rose among the thorns in the sibling team. The devil-may-care attitude of mixing demi-couture beading techniques with thrift store spontaneity gives the Sibling show its star quality.
The humour is never lost. The reference to Punk Princess Gloria von Thurn und Taxis’ hair in the 80s was a nice wink to yet another female iconoclast in subculture’s history. The last show nodded to Maripol, the woman behind Madonna’s groundbreaking image some thirty years ago. In parts, today’s collection felt like an extension of the men’s, especially with the Mod suiting stripes. For the rest of it, it read like a reprise of popular fashion iconography like the Stephen Sprouse handwritten words and the Miu-Miu-esque beaded lattice number.
Whilst there may have been a plethora of fashion references, the Sibling show was far from a work of imitation. The sheer cult of personality of its girls – and its designers – is what sets it apart. It almost has a post-modern attitude to appropriating fashion history, rendering it new meaning. And just like that cool small town girl in the show, her insouciance towards fashion makes you want to befriend her even more.