SIBLING Women’s Autumn Winter 2015
“I know a girl from a lonely street, cold as ice cream but still as sweet”
This season’s SIBLING women’s collection is their take on a young sophisticate: the girl who sneaks backstage to hangout with the band, who studies you intently from under her backcombed fringe, who finds imaginative ways to dress to disguise her age. She’s a girl cool beyond her years, but is it just a front to mask her shyness?
A SIBLING signature motif merino sweater yells, “Call Me” – an homage to Blondie but also the over eager shout out of the SIBLING LC:M boys to these unobtainable, cool girls.
A small town exhibitionist, she makes her presence felt through her mismatched layering, her scarf decorated with beautifully hand beaded Sputnik badges and her dress covered in the handwritten words to Sunday Girl. The buttoned-up style of intricate twinsets and fur trims echoes that of the grand dames of Sloane Street via Gloria TNT. Her watch of choice is not the expensive gift from a much loved relative but a fair isle doodled Baby-G offset by glitter polish nails painted to match her sandals.
Latex adds a sex shop shine to the collection. Add in brushed Mongolian lamb, Lurex and a riot of beads and sequins, and this collection becomes a youthful reimagining of sophisticated lady chic. The colour palette is influenced by the work of Francis Bacon and Verner Panton: pink-purples, electric blue, orange and black. The latter seen in latex coats, oversized hand knit bikers, fur trimmed halter necks and fine mesh mini-dresses.
London, 21st February 2015
This evening’s Gareth Pugh Autumn/Winter 2015 show opens with the image of a lone female figure bathed in red – the colour of both love and war. In a film directed by close friend and longtime collaborator Ruth Hogben, we find a character engaged in a ritual act of liberation, as she anoints herself with the Saint George’s Cross – both saint and dragon at once. Britannia heralds the onslaught, a weaponised woman, hardened and battle ready.
In the past Pugh has described his work as modern armour, and this collection is totally informed by this ideal. His work has always been about beauty built on strength; a power silhouette; a disregard for passing trends and perhaps even a promise of protection. But it’s not without a sense of humour.
Examine the glistening bed of thorns that covers swathes of this collection – both birdlike and reptilian – and you’ll find tens of thousands of hand-cut plastic drinking straws. Listen closely to the soundtrack and you’ll hear the chants of Sunderland Football Club. This very particular form of alchemy represents Gareth Pugh at his most authentic.
This show marks the 10th anniversary of the designer’s label. It also signals his return to London Fashion Week, following seven years of showing in Paris. Although he would be the first to say that London has always been there in the work. “This city is where everything started for me, my entire creative family are here, so it’s in everything I do. It’s my home.”
This notion of belonging is central to this story. Rooted in nationhood, teamwork and family, this is a collection that is at once fierce and full of hope – a description that could stand to represent Pugh and his ethos entirely.
This season is inspired by the work of Louise Bourgeois. Tapestry and Tulle, tweed and lace. L’araignee et les Tapisseries. Chenille upholstery, and hoisery, alone and together, her work Mamelles, 1991. Padded nude mesh, on breast. Nude shoe, nude you.
“When I was young”