Giles Couture Fall 2016 Collection Channels Lady Ottoline Morrell
Known for his playful designs, Giles Deacon is no stranger when it comes to timeless, elegant garments with a certain air of drama, and his latest Giles Couture fall/winter 2016-2017 collection is no exception.
This Couture line-up blends uber-sophisticated lines with more modern patterns, while at the same time keeping the haute couture vibes always in the first place. To better embody the kind of elegance he had in mind while designing the collection, Giles Deacon catapulted himself in the first decades of the Twentieth century and, more precisely, at Lady Ottoline Violet Anne Morrell’s house.
Unapologetically flamboyant and with ensembles that were always refined to the nines, Lady Ottoline was a highly influential aristocrat in the English intellectual circles, the members of which included, among others, Virginia Woolf, T.S. Eliot and D.H. Lawrence. Giles Deacon imagined being a part of one of Ottoline’s exclusive parties, picturing what the guests would wear.
And so that’s how, abounding in ruffles, structured pilgrim necks and Charleston-inspired fringed details, Giles’ couture-esque party came finally to life. Each detail utilized is extremely refined, with tiny 3D petals and trompe-l’‚Äö√¢√†‚àö¬®il patterns being at the core of the Giles Couture fall 2016 collection.
When Giles Deacon declared he was going to put his ready-to-wear line on hold, we were sure all of his terrific skills were to be concentrated on creating something imposing for the haute couture world, indeed. “I always enjoyed making the big, special pieces for the show, and those were the things we were selling, so I thought, why not do what you love most?’ he explained.
Featuring a color palette that is as variegated as the silhouettes available, the line-up takes the draping technique to a new level, with layers of fabrics adding even more volume to the already oversized figures and, at times, even geometrically infusing some details with a theatrical texture that is couture-esque at its purest.
Handmade by Deacon himself, who is an old hand at the game for sure, all of the prints are perfectly in tune with the lines and cuts. The solid-colored clothes have been used for the fluid, ‚Äö√Ñ√∂‚àö√ë‚àö‚â§plain’ ensembles, while the more intricate, shibori, tie-dye, floral and damask printed designs decorate the airy and structured garments.
The Roaring Twenties, with their undeniable and evergreen elegance, get thus alternated with Victoria-style whimsical proposals, the strong personality of which reminds us of that of Lady Ottoline herself. Like the members of Lady Ottoline’s cultural circle, this Giles Couture FW 2016-17 collection is stuck between two different eras, with people either wearing late 1900s-inspired ensembles, or shorter, risqué pieces that characterized the very last years of the 1920s.
Both the factions naturally accepted one another, knowing that what makes them unique is their diversity indeed. In the same way, Giles Deacon’s aficionados can freely choose between such different styles, opting for what makes them feel beautifully flamboyant and sophisticated (whether it means channeling a dramatic pilgrim neck or a fringed cocoon skirt).
Photos courtesy of Vogue