An unstructured informality runs throughout this collection, an elegance that allows the body to move unhindered. Yet while they may appear simple and straightforward at first glance, many of the pieces offer unexpected moments of exposure, revealing what lies beneath as the wearer moves. This is not an exercise in dressing for the entertainment of others, however. This is dressing for the satisfaction of the wearer. The most literal manifestation of this self-absorption comes in the use of ‘moi’ as a repeated graphic on skirts and sweaters.
The rose is another recurrent motif, and not only as a repeat pattern in the proliferation of knit Jacquards: the fabrics have the plush, pliant texture of rose petals. Mongolian fur, for example, has been relaxed to give it a feathery pile, its wildness cultivated but still bestial, tactile and sensuous.
Dresses are conceived as abstractions of an unfolding bloom. Sober and classic tones of camel, forest green and navy are jolted out of their classicism by bursts of white, acid yellow and lavender. But overall, the collection’s anti-exhibitionism brings us to an acceptance that, for all the sociological meanings we might invest them with, clothes are just those everyday things we wear. As Gertrude Stein said, ‘A rose is a rose is a rose.’