Andrew Gn formulated his new collection with an artistic and cunning eye. Naming it after infamous art patron of twentieth century America, Peggy Guggenheim, and taking to a selection of modern and contemporary artists and designers that inspire him, we saw a slight change in traditional aesthetics – a change that is, nonetheless, welcomed.
Modernity is fundamental here, and the opening white piqué ‘shirtwaisters’, which both came with black grosgrain trim, introduced that aptly. Neat and clean-cut, there’s little to fuss about at the beginning, but that’s where the strength lies for Gn, who took it upon himself to “transport [the artists] visual language to clothes.” Where some looks were understated, others were given crafty attention – particularly shift dresses which were mastered with façade prints, sheath, overlaid black python lace, zip pockets, metal studs, and some more black grosgrain – which is clearly favoured in this collection – with ribbon detailing.
Mikado dresses and asymmetrical skirts with a rich palette of gold, ivory, sepia and pistachio tones began to take forefront as the collection developed further down the runway – those details that were lacking at the beginning now shine with focus. Cuffs, insets and godets work with the softest of all materials, silk, satin and cotton, while ‘Micro Brief’ bags – the best coming in chartreuse and white python – readily accompanied the looks.
Gn’s use of metallic, studded embellishment on black crepe dresses made a subtle start to glamour, but the closing pieces of embroidered and bodice Carlo Mollino inspired gowns acted as showstoppers by far.