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.

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.

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