Kate Bush was blaring through the speakers at Giles Deacon’s studio as Katie Grand put the designer’s pre-fall looks together on model Edie Campbell. “It’s a little bit Edie Sedgwick, a little bit Margo Leadbetter [from the 1975 UK TV series “The Good Life”],” said Deacon. “I was looking at these suburban fetish magazines from 1972 to 1974.” His shapes indeed drew from the Seventies, especially evident in one full-length copper Lurex skirt teamed with a spot-print blouse, the spot of which was actually a micro print of the breathing apparatus on a gas mask. “Subtlety is not something we’re known for,” joked Deacon, who also showed long-sleeve silk maxidresses, coats in a stretch polyamide and school-teacher shapes like tailored shift dresses worn over blouses.

Kate Bush was blaring through the speakers at Giles Deacon’s studio as Katie Grand put the designer’s pre-fall looks together on model Edie Campbell. “It’s a little bit Edie Sedgwick, a little bit Margo Leadbetter [from the 1975 UK TV series “The Good Life”],” said Deacon. “I was looking at these suburban fetish magazines from 1972 to 1974.” His shapes indeed drew from the Seventies, especially evident in one full-length copper Lurex skirt teamed with a spot-print blouse, the spot of which was actually a micro print of the breathing apparatus on a gas mask. “Subtlety is not something we’re known for,” joked Deacon, who also showed long-sleeve silk maxidresses, coats in a stretch polyamide and school-teacher shapes like tailored shift dresses worn over blouses.

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