There have been moments over the arc of Gareth Pugh’s career when it felt like the prince of weirdo Goth-romance was courting commercial viability. Fall was not one of those moments.
Pugh took a heady turn toward experimental extremes, exploding his base silhouettes — kimono-sleeved robes, both stiff and soft, engulfing funnel necks and wrap jackets with grand collars — in wonderfully strange treatments. The lineup had good energy, and even a thing or two to wear.
The first look out was a dress with a full skirt of densely folded pleats with a matching funnel-neck cape and an extra-tall 10-gallon hat, all done in white, tightly bunched ruffles. From there, Pugh whipped up cloudlike white robes, regal dresses done in savage furs, and an oversize tunic with a giant funnel neck worn over matching baggy thigh-high boots in a mirrored silver treatment that looked like plastic. A clear top seemed descended from a bustier, except it jutted up in front of the face like a wearable windshield. Some languid robes looked crafted from plastic bags. Two structured hourglass silhouettes — a zip-front dress and a layered coat look — had extra-large turnkeys attached to their backs, like life-size wind-up dolls.
The raw materials gave the look a DIY postapocalyptic cast, which was not gloomy but bright in shades of optic white, ivory and mirrored silver.