Mary Katrantzou gave a big shout-out to the legendary Anthony Price (the man behind the fashion designs of Roxy Music and Cover Girls) as the inspiration behind this seasons dramatic silhouette. Ina brief interview backstage she said: “I’d already done the peplum and hourglass,”… “So I was looking for different silhouettes to emphasize embroidery and embellishments.” Well that she did!
Framing ornate, innovative prints in intricate embellishments and embroidery. The process used in creating the print for the godet skirt was said to be so difficult to produce that she made a them in such sacristy (only four will be available).
The dramatic lines and silhouette of the pieces gave the collection a whimsical, futuristic feel, aptly applied in a very modern context, it is very easy to imagine a starlet donning one of any number of the structured designs. In sharp contrast to the more architectural looks, Katrantzou derived a few softer flowing gowns and dresses that make any women the envy of the red carpet.
Adding a twist of humor and exaggerating the mundane, the bold prints and colors of the collection were derived from normal household objects and run-of-the-mill daily life. It began with the crayons on the invitations and carried into very literal inspirations behind her work, when green was used, it was grass, yellow was seen as No. 2 pencils with the erasers; even the unique bodice of the rococo red velvet dress was a red typewriter, with the described by Tim Blanks as “keys providing a coiling abstract geometry on the skirt”. The artisans at Lesage embroidery atelier in Paris must have done a double take when the project was introduced. Not only was it the first time working with a London designer, but it was the first fashion rabbit whole the atelier has ever gone down.