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Questions as to whether London’s Goth club kid kingpin Gareth Pugh’s outrageous oeuvre would be up to the Paris runway — consider them answered. Pugh put on a high-octane show Saturday evening fueled by his Andam Award money and a fierce focus on black and white. Each look, from the shoes and hose to the clothes, was head-to-toe white in front, black in back. The coming and going contrast was powerful, as were the models turned truly robust in the Pugh’s dramatic silhouettes. He played romance against aggressive futurism with exaggerated ruffs expertly scrolled into collars, vests and skirts on the first looks; sculpted dresses and suits peaked at the shoulders and ridged up and down the thighs, some done in plastic coated eel, that with the slicked hair, made for a wet look, a reference to the Lady of the Lake. At times, it got a little Storm Trooper, particularly on the fencing suits gone mad, but there was a finesse throughout. Pugh is a showman and this was great high performance gear.
Questions as to whether London’s Goth club kid kingpin Gareth Pugh’s outrageous oeuvre would be up to the Paris runway — consider them answered. Pugh put on a high-octane show Saturday evening fueled by his Andam Award money and a fierce focus on black and white. Each look, from the shoes and hose to the clothes, was head-to-toe white in front, black in back. The coming and going contrast was powerful, as were the models turned truly robust in the Pugh’s dramatic silhouettes. He played romance against aggressive futurism with exaggerated ruffs expertly scrolled into collars, vests and skirts on the first looks; sculpted dresses and suits peaked at the shoulders and ridged up and down the thighs, some done in plastic coated eel, that with the slicked hair, made for a wet look, a reference to the Lady of the Lake. At times, it got a little Storm Trooper, particularly on the fencing suits gone mad, but there was a finesse throughout. Pugh is a showman and this was great high performance gear.
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