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By Alexander Patino
POSTED March 4, 2011
Fashion's Reigning Prince of Darkness
Reins in the Light For Fall/Winter 2011
Reins in the Light For Fall/Winter 2011
The performance aspect of Gareth Pugh's formative showings was almost completely lost in his latest fall collection. It's the kind of opportunity cost that Pugh has grappled with since the
very beginning of his career. But it's done him much good, judging from the strong focus and strength of what he just sent down in Paris. Gone were the perspex discs, the shiny latex and
inflatable balloons. No foamy footballs or fluffy rats in sight. Pugh's artillery this go-round was leather (bonded, articulated and in gold molded sequin) and silk jersey. It sounds rather
sparse to drive an entire collection, but Pugh has worked wonders with less. Remember - this is a guy that used to live in a dilapidated apartment that had only two barely functional
electrical outlets.
First look out - the impact was religious. It's hard to discount the gold frontispiece of a holy cross made out of almost-intersecting zippers on a black leather-sleeved dress, followed
immediately by its sleeveless, tighter analogue. Exaggerated volume - a favorite leitmotif of Pugh's - was harnessed for wearability, and that honed skill became most palpable and kinetic
in the billowy silk jersey pants that carried a generous flair at the bottom, on both the men and womenswear. The darkness and the proportion was positively Medieval, with priestly robes
and tabard silhouettes - the bonded leather and the flowing silk suggesting a tug-and-pull visually and subtexturally. The struggle between light and darkness has always been one of
Pugh's favorite metaphysical playing grounds, after all.
We were ready to settle for an all-black show, until Katsia Zingarevich walked out in a skin-tight black shift with a cobalt cape. The cobalt pieces were refreshing to see in not just this
Gothic-laden collection, but in Pugh's entire repertoire of almost total black and white. The clever triptych ended with leather again, but this time, shimmering gold sequined leather was
molded over the articulated leather, until it finally took over the entire fabric in the final look worn by Karlie Kloss - cape, dress and leggings - all was golden. The same could be said of the
moment. Something for Pugh to bask in.
very beginning of his career. But it's done him much good, judging from the strong focus and strength of what he just sent down in Paris. Gone were the perspex discs, the shiny latex and
inflatable balloons. No foamy footballs or fluffy rats in sight. Pugh's artillery this go-round was leather (bonded, articulated and in gold molded sequin) and silk jersey. It sounds rather
sparse to drive an entire collection, but Pugh has worked wonders with less. Remember - this is a guy that used to live in a dilapidated apartment that had only two barely functional
electrical outlets.
First look out - the impact was religious. It's hard to discount the gold frontispiece of a holy cross made out of almost-intersecting zippers on a black leather-sleeved dress, followed
immediately by its sleeveless, tighter analogue. Exaggerated volume - a favorite leitmotif of Pugh's - was harnessed for wearability, and that honed skill became most palpable and kinetic
in the billowy silk jersey pants that carried a generous flair at the bottom, on both the men and womenswear. The darkness and the proportion was positively Medieval, with priestly robes
and tabard silhouettes - the bonded leather and the flowing silk suggesting a tug-and-pull visually and subtexturally. The struggle between light and darkness has always been one of
Pugh's favorite metaphysical playing grounds, after all.
We were ready to settle for an all-black show, until Katsia Zingarevich walked out in a skin-tight black shift with a cobalt cape. The cobalt pieces were refreshing to see in not just this
Gothic-laden collection, but in Pugh's entire repertoire of almost total black and white. The clever triptych ended with leather again, but this time, shimmering gold sequined leather was
molded over the articulated leather, until it finally took over the entire fabric in the final look worn by Karlie Kloss - cape, dress and leggings - all was golden. The same could be said of the
moment. Something for Pugh to bask in.
