Photo Credit: Barney’s
The British pastoral is well-trodden territory in fashion design, frequently listed by romantics in ready-to-wear. She envisioned was the Somerset countryside where winter jasmines, snowdrops, anemones withstand winter’s affliction—a quintessentially British story.
Last season, she coalesced three disparate influences: David LaChapelle’s photography, Italian summers, and the stately portraiture of John Singer Sargent. It encapsulated summer in a myriad of guises. Her influences for Fall 2018 weren’t as varied and the result wasn’t as eye-catching. While the models had had flushed cheeks from a winter walk and the litany of flowers she spoke of were hand-embroidered on dress, it wasn’t as evocative. If anything, it summarised a winter slump.
Despite the trite inspiration, the redeeming quality of the collection was the hand-embroidery. (She trained at Dries van Noten in Antwerp—one of the best.) Her skill as a craftswoman is impressive. It produced an endearing feminine whimsy and it will serve her clientele’s purpose. However, it would nice to see her arrive at a different destination in the future.
To possess a signature is one thing but in order to reinvent, one should endeavour to excite.