Giles Deacon’s inspirations were manifold, but there was one overriding theme for pre-fall: “There’s an austerity to the collection — but it has nothing to do with the British government’s austerity drive,” said the designer. “It’s very pulled-back; there’s a strictness to it.” And while the silhouettes were mostly monochrome (black, gunmetal, deep red), there was a tactile richness to the clothes: Body-hugging knit dresses were in fuzzy viscose, and wool A-line frocks had round collars and nubby, bee-shaped woven details across the fronts. The outerwear, too, was a lesson in texture. Deacon punched holes in the leather sleeves of peacoats and slicked a rubberized coating onto nubby wool coats and jackets, giving them a hard, pebbly feel. As for the soul print, it came from Deacon’s experiments manipulating images on the computer. He took a painting of Lady Jane Grey, who served as queen of England for just nine days in the 16th century, and broke it into colored shreds, a pattern he used on prints for floor-length gowns, shifts and skirts.

Giles Deacon’s inspirations were manifold, but there was one overriding theme for pre-fall: “There’s an austerity to the collection — but it has nothing to do with the British government’s austerity drive,” said the designer. “It’s very pulled-back; there’s a strictness to it.” And while the silhouettes were mostly monochrome (black, gunmetal, deep red), there was a tactile richness to the clothes: Body-hugging knit dresses were in fuzzy viscose, and wool A-line frocks had round collars and nubby, bee-shaped woven details across the fronts. The outerwear, too, was a lesson in texture. Deacon punched holes in the leather sleeves of peacoats and slicked a rubberized coating onto nubby wool coats and jackets, giving them a hard, pebbly feel. As for the soul print, it came from Deacon’s experiments manipulating images on the computer. He took a painting of Lady Jane Grey, who served as queen of England for just nine days in the 16th century, and broke it into colored shreds, a pattern he used on prints for floor-length gowns, shifts and skirts.

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