Both Sixties silhouettes and the romance of rural England, with its miles of wildflowers and brightly painted gypsy caravans, played a big role in Sarah Burton’s richly rendered collection.
The latter emerged in the lineup’s powerful artisanal element, ranging from the oversize, hand-painted enamel buttons on a cocoon-shaped tweed and lambskin coat to the black leather dresses adorned with embroidered and hand-painted ruffles. A long and sheer white tulle dress, fit for a glamorous ghost, was scattered with colored sequined flowers, while a crocheted dress had leaf and flower patterns. Both were meant to mimic the simple, unsophisticated decorations on traditional horse-drawn vehicles.
The Sixties feel came in the form of a tailored houndstooth cape coat with chunky metal buttons and a lineup of tiered cotton trapeze dresses done in broderie anglaise. In some cases, the borders of the open embroidery were edged in black or red, tempering the dresses’ sweetness. Gauzy knit dresses were done in faded crayon colors — red, orange, blue and cream. Some were adorned with layered ruffles, while others had sporty striped bands around the waist. All of them seemed to be inspired by colored-wool clothing from an eight-year-old’s closet, circa 1968.