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Editorial

There was no air of hope at Gareth Pugh’s show. The English designer showcased a theatrical collection dominated by darkness, which Pugh attributed to recent times. Inspiration came disturbingly from ‘The Night Porter’. You could see Charlotte Rampling in those black coats cinched by a belt or those suits in which a double-breasted jacket rested on the hips like a military uniform, not to mention the iconic braces worn over bare breasts and masculine trousers. The woman proposed here was an androgynous lover of black, who loved to wrap herself in leather or light, volatile nylon. In rigorous and voluminous lines, she was imprisoned alone inside architectural structures that protected and uncovered her at the same time. The femininity of this warrior was glimpsed in the transparencies and in the pleasure she took in wearing fur, although it was not enough to make her sweet.