LFW Report: Peter Pilotto’s printed origami

25 September 2009

There aren’t many designers that we will drag ourselves into Soho for at 9am, after a late fashion week party the night before. But we really didn’t want to miss Peter Pilotto. In fact so keen were we to arrive on time that when we sat down we realised that Anna Wintour was sitting opposite us on her own. We toyed with the idea of out-staring her, but thought the better of it. We may have been stifling yawns and praying for coffee when we arrived, but Peter woke us up with a stunning collection that pushes his prints to another level. The collection was loosely split into three sections that ‘evolved over the course of the perfect hot summer’s day, from the pearly dappled greys of the hazy morning through to the rich midnight blues and taffeta blacks of heavy night, followed by the final burst of bright day and pure colour in sunshine saturated shades of burnt orange and perfect azure blue.’

The designer says that the shades of oranges, crimsons, greys and lavender were inspired by Francis Bacon paintings, but in painterly ‘fireworks’, ‘water’ and ‘snakeskin’, they were more reminiscent of Monet. He kept dresses short, shorts shorter and trousers tight, but it was the clever draping, darting and pleating that impressed us. Oversized shoulders, twisted panels that tucked into each other seamlessly, and hips were emphasised with spiked points as waists were minimised with ‘floating’ transparent belts. We’ve always been a fan of the Peter Pilotto duo (the silent partner is Christopher de Vos), but after this season, and with Anna W on the front row, expect their following to explode.

- Kay Barron


All posts must obey the house rules, if you object to any comments please let us know and we'll take the appropriate action.