If you have the power to command Yeezus to descend upon your London show, you know you have some serious guns. Past LVMH-prize winner Thomas Tait attracted a legion of elite guests that would give the likes of Burberry a run for their money. All showing solidarity for one of London Fashion Week’s best-kept secrets.
Huddled in an intimate space in a disused Brutalist wing of the University of Westminster, the audience waited anxiously under the house lights. The photographer’s pit was unusually out of sight as the predominantly all-black audience flanked the space on all four corners. It felt serious and had the gravity that mirrored — daresay — that of Gareth Pugh’s or McQueen’s earliest shows. Tait’s reference to the 1977 horror flick “Suspiria” by Dario Argento made it feel extra ominous. “Goblin,” as it said on the invite, was a nod to the progressive rock band that scored Argento’s film.
Models took cautious steps as they entered the space in a zigzag formation, walking in and out of ebbs of light. Accordion pleats draped diametrically across the body with Goblin’s artwork contrasted the more typically '70s roomy trousers, waxy brown and patent leathers. Zipper jackets with exaggerated metal finish played with the typical codes of the '70s garment. Tait shared similar retro-future overtones as perhaps Nicolas Ghesquiere at LV, but the former’s girls were a lot more sinister. Belts cinching knee-length A-line 40’s coats were fastened to the last hole while lustrous black leather gloves went well past the elbows. The only moments of release from the intensity were the crimson and marigold numbers, which were among the least structured.
At times it was hard to observe the details of the clothing in the dark. Sadly, the production values got in the way of the clarity of the show but for those moments when the models were right under the light, the clothes looked impeccable. Even Kanye left the show smiling, so it must have been good.