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published on Sunday, 20 September
New Generation sponsored Louise Gray ventured forth to create an idiosyncratic presentation in Somerset House’s Portico Rooms.
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The wild exuberance of her work shattered the classic interior, in an 80s and 90s London inspired collection named Oh No Babe.
Outfits hung in frames from Tony Hornecker-constructed wire mannequins, while brightly coloured models lounged insouciantly at their sides. As per usual, rich hues and contrasting patterns were key: a yellow crop jacket spray-painted with neon orange hearts, a zigzagged royal blue and lemon jumpsuit, a Keith Haring inspired skirt, black and white, accessorised with a red T-shirt and blue bustier.
Some subtler combinations were also in place; a pale sorbet yellow teamed with navy and olive in a light summer dress, and gently contrasting lilacs and pinks in a small chiffon top.
Gray is big on hand-embroidery and embellishment, and one of the most obvious advantages of hosting a presentation instead of a catwalk show is the opportunity to see garments up close; to pick out the details and textures for yourself.
It also goes some way to democratise the whole business; as the feeling of elitism and hierarchy is lessened once you take away row A and see Louise Gray herself wafting, flame-haired, through the masses.
Fellow collaborators Nicholas Kirkwood (purveyor of fine shoes) and (jeweller extraordinaire) Judy Blame also showed their faces: Kirkwood’s vertiginous heels accessoried to the hilt by Blame with rags, tassels, bows and other ephemera.
Gray’s second season out of the Fashion East stable is bold, daring and competent, and presented in a unique way that reveals her personality and influences perhaps better than an expensive catwalk show could. She makes clothes that she wants to wear, and so far it looks like a winning formula.
Outfits hung in frames from Tony Hornecker-constructed wire mannequins, while brightly coloured models lounged insouciantly at their sides. As per usual, rich hues and contrasting patterns were key: a yellow crop jacket spray-painted with neon orange hearts, a zigzagged royal blue and lemon jumpsuit, a Keith Haring inspired skirt, black and white, accessorised with a red T-shirt and blue bustier.
Some subtler combinations were also in place; a pale sorbet yellow teamed with navy and olive in a light summer dress, and gently contrasting lilacs and pinks in a small chiffon top.
Gray is big on hand-embroidery and embellishment, and one of the most obvious advantages of hosting a presentation instead of a catwalk show is the opportunity to see garments up close; to pick out the details and textures for yourself.
It also goes some way to democratise the whole business; as the feeling of elitism and hierarchy is lessened once you take away row A and see Louise Gray herself wafting, flame-haired, through the masses.
Fellow collaborators Nicholas Kirkwood (purveyor of fine shoes) and (jeweller extraordinaire) Judy Blame also showed their faces: Kirkwood’s vertiginous heels accessoried to the hilt by Blame with rags, tassels, bows and other ephemera.
Gray’s second season out of the Fashion East stable is bold, daring and competent, and presented in a unique way that reveals her personality and influences perhaps better than an expensive catwalk show could. She makes clothes that she wants to wear, and so far it looks like a winning formula.
