When they said florals, i thought of Erdem. When they said Virginia Woolf, i thought about falling asleep standing up. But magically, an amalgamation of the two, contorted by Thornton and Bregazzi, makes "to the lighthouse" seem slightly more bearable. slightly.
Each of the 42 looks, represented a dichotomy in a dress; weaving old into new. Hair was pinned back to a 40's chignon and necklines were raised high to Victorian standard. Skirts shuffled along with modesty, covered by sharp jackets and sometimes paired with trouser suits, loosely fitted. It was subversive, sophisticated and gently feminine but without a sensual caress; seemingly desexualised. But then came the prints; camouflaging all of that. So modern and untouched, they rendered all historical context completely irrelevant.
Blown up floral photos, were pixelated and softened by pastel shades with sharp undercurrents of neon, to form a chessboard pattern. Painted across crepe silk and streamlined pencil skirts, the digital prints brushed elegance across lace trimmings and peplum ruffles that caught the air like dancing petals in the wind. At one stage, Peter Pan collars tried to drag back the remnants of Virgina Woolf but were curse by midriff exposing jumpers and breast baring sheers. In time, the prints evolved towards a tattooing effect, with botanic leaves on top of pixelation, enveloping a garment; becoming the colour, the shape, the texture and the style all at once.
The designing duo maintained what has become an ongoing magic act, creating optical illusion via the baffling hybridization of textile. Cotton sleeves shot out from chiffon draping and lace merged into satin whilst black grew out of white. It's cutting edge and stretched the innovative art of printing in another direction; complex and convoluted, but easy on the eye.
“ We've been looking at flowers, the idea of Victorian glass houses and reading Virginia Woolf. But we never want to make the influences look literal"
Each of the 42 looks, represented a dichotomy in a dress; weaving old into new. Hair was pinned back to a 40's chignon and necklines were raised high to Victorian standard. Skirts shuffled along with modesty, covered by sharp jackets and sometimes paired with trouser suits, loosely fitted. It was subversive, sophisticated and gently feminine but without a sensual caress; seemingly desexualised. But then came the prints; camouflaging all of that. So modern and untouched, they rendered all historical context completely irrelevant.
Blown up floral photos, were pixelated and softened by pastel shades with sharp undercurrents of neon, to form a chessboard pattern. Painted across crepe silk and streamlined pencil skirts, the digital prints brushed elegance across lace trimmings and peplum ruffles that caught the air like dancing petals in the wind. At one stage, Peter Pan collars tried to drag back the remnants of Virgina Woolf but were curse by midriff exposing jumpers and breast baring sheers. In time, the prints evolved towards a tattooing effect, with botanic leaves on top of pixelation, enveloping a garment; becoming the colour, the shape, the texture and the style all at once.
The designing duo maintained what has become an ongoing magic act, creating optical illusion via the baffling hybridization of textile. Cotton sleeves shot out from chiffon draping and lace merged into satin whilst black grew out of white. It's cutting edge and stretched the innovative art of printing in another direction; complex and convoluted, but easy on the eye.
“ We've been looking at flowers, the idea of Victorian glass houses and reading Virginia Woolf. But we never want to make the influences look literal"
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