Alice Archer’s models were practically floating in the presentation space in their fluttery organza-topped dresses covered in blurry watercolor florals.
Archer’s prints and embroideries could have come straight from Claude Monet’s palette, but instead they were inspired by one of his Scottish contemporaries, Charles Rennie Mackintosh, who in addition to designing furniture, buildings and textile prints, was a watercolor painter.
Florals in Archer’s collection came as sequin-studded embroideries on sheer tulle overlays or cotton poplin dresses, as prints on silk dresses and coats and as fine white stitching on the front of a long, bougainvillea pink dress.
Archer even spun those dreamy botanicals into more casual pieces, specifically cotton shirts with a micro-gingham check. The clusters of embroidered flowers were placed here and there, as if floating on a little pond.