I wonder if it's a St Martin's teaching programme thing, but the LFW graduates are all fairly traditional in the way they cut and construct clothes - the nipped waist, the shift, the jacket - and they go nuts exaggerating the materials, the colours, prints, the proportions, the surface decoration, the frivolity. McQueen for example, it's always the traditional bustier/corset with balloony skirts festooned with details, which works well with a slightly period Victorian/Edwardian vibe. This is the way NYFW comes across as well. In contrast, the Antwerpen school and the Japanese are more about subverting and experimenting with the pattern-making, the construction, etc. The resulting silhouette is often different and startling.
So for all the craziness in a Giles collection, you get the feeling that it's nothing intrinsic, but plenty of add-ons. It's fairly traditional in the way the clothes are patterned, designed and constructed. The shape and silhouette are familiar, especially in the safer pieces and they are overwrought to the point of ridiculous for the so-called "daring" or "experimental" pieces.
So for all the craziness in a Giles collection, you get the feeling that it's nothing intrinsic, but plenty of add-ons. It's fairly traditional in the way the clothes are patterned, designed and constructed. The shape and silhouette are familiar, especially in the safer pieces and they are overwrought to the point of ridiculous for the so-called "daring" or "experimental" pieces.
but at the glance, it turns out a touch of offbeat speciality which is quite funky and rare, in the end the unique harmony and consistency blowing up
he's mocking and playing prank to Fashion World
