Nobody does techno-Goth quite like Pugh, but for his latest collection, there was a romantic spin on his clothes this time around. There was excellent outerwear- a trim leather jacket with zip-away peplums; a trench that cut away to a trailing skirt.
Collars, necklines and corset effects suggested something Elizabethan, an idea that resonated in the subtle hourglass shape created by the panels on a sharp dress. Such structure gave way to a soft beauty in gauzy dresses, some sliced into strips of chiffon, others done in sheer stripes. All this seemingly new-found wearability wasn’t at the expense of Pugh’s precious theatrics, maintained via aggressive accessories that we're sure Daphne Guinness, who was sitting in the front row, absolutely loved- feathered headpieces, lace-up leather leggings and wedge boots that have a future as fashion’s new fetish item.
One aspect of the collection that stood out to me was how the designer mixed womenswear and menswear in his show. His men's clothes were significantly more corseted than his women's, resulting in a slightly androgynous theme through-out.
Pugh's experimentation with fabrics was as obsessive as ever, with feather-light tops, dresses, and pants that were micro-pleated or woven or slashed in crepe or chiffon, with his gray colour scheme reflecting a sort-of lightness that he has never displayed before.
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