We wave another reluctant goodbye to the glitz and the glamour, the weird and the wonderful, the late nights and early mornings of London Fashion Week Fall 2016 in February this year.
With the blisters from the platforms your mother warned you not to buy healed (why is she always right?) and the little devils moved to the back of your wardrobe, it seems there is only one thing left to do: start thinking about the next season.
The British Fashion Council’s talent identification scheme ‘NEWGEN’ is already in motion for Spring/Summer 2016. The scheme supports designers by offering business advice, financial support and the opportunity to display their work in the British Fashion Council showspace. The process for LFW will begin in May and has been the perfect platform to launch designers into a successful career, enabling them to develop their brand and gaining invaluable press and media attention.
London Collection Men’s (LCM) winners have already been decided: Kiko Kostadinov, Phoebe English and Grace Wales Bonner will be supported by the council throughout LCM in June this year.
One designer to get particularly excited about this is Londoner Molly Goddard who received the support from the British Fashion Council after winning a place with the NEWGEN scheme for Autumn/Winter 2016. Her techniques in smocking, crochet and pleating have already reached the pages of Elle, Vogue and Dazed and Confused since dropping out of her Knitwear BA in Central St Martins.
For Goddard’s Fall collection, her signature was the ghosts of the dresses presented, each one hanging from the torso like candyfloss cocooning a stick at the fair. The garments played peek- a-boo with the colours worn underneath as the models held hands, giggled at the side of a piano and skipped up and down steps in the playroom created for them. Tulle was tied with statement bows, necklines were high and the netted trousers that fell over the ankles and onto black pointed ballet slippers were a must-see.
Their once tight curls were caught under lopsided bonnets and in neglected ponytails that hung at their necks. It’s as if each girl, their faces white with dust, had been brought to life. As if they were invited down from a forgotten shelf or a box in the attic marked ‘Molly’s Toys’ for a chance to be played with, loved, one last time.
The manipulation of nostalgia, the fairytale playground, smock dresses and tumbled down chairs are just another insight into the playful mind of this designer. From sandwich-making production lines to life drawing classes, whatever she treats us to next will be an absolute pleasure.