2016 Resort

Giles

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Giles Resort 2016

Giles Deacon Resort 2016

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  • Giles Deacon Resort 2016
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  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016
  • Giles Deacon Resort 2016

Giles Resort 2016

Giles Deacon was in an artsy mood, working a kaleidoscope of color into an upbeat collection for a “haute-y glam Goth, psychedelic bohemian,” girl.

Giles Deacon was in an arty mood, working a kaleidoscope of color — and original illustrations — into an upbeat collection for a “glam Goth, psychedelic bohemian” girl. The designer, who rejiggered his pricing structure to make the collection more accessible, gave his signature trapeze, A-line and sculpted silhouettes a jolt of electric color and graphic charm. Voluminous blouses or dresses resembling morning coats were covered in thick, jagged stripes in bright red or cobalt. Prim sleeveless dresses, meanwhile, were awash with in-your-face abstract flower patterns inspired by the great outdoors and the work of graphic artist Peter Max. As if those dresses were not eye-catching enough, they were fashioned from cotton jacquard overlaid with organza for a blurry, 3-D effect. Deacon also used drawings of Borzoi dogs by the Polish artist Magda Antoniuk for tunic dresses, and lined up his own mile-high cartoonish models on T-shirts worn with wide-leg, cuffed trousers. He stuck ladylike bows everywhere — as chokers on models’ necks, around the armholes of sleeveless trapeze dresses and around waists. “Everybody loves our bows — they’re part of the haute-y glam world of things,” Deacon said.

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