Fashion
  • Text Lakeisha Goedluck
  • Photography Ieva Lasmane
  • 6th January 2020

gutter/glitter

This season, the Art School show space was bathed in dim light to construct a scene befitting of a David Lynch movie. As is customary with the brand’s productions, models traversed the space with purposeful movement as crumbled white chalk stained the ground and, resultantly, the bottom of their feet.

Visually, it was a dichotomous tale between black and white. Using the genderless form of the artist’s smock as a starting point, simple button-front dresses and billowing cape-like constructions swept down the runway. Joining forces with British artist Maggi Hambling, dresses erupted into 3-D structures made from recycled materials sourced from earlier collections: “To connect and acknowledge the importance of the past and the biography of material,” read the show notes.

Artist Richard Porter leant his design talents once more to produce unique sculptures for the collection. Rocks, driftwood and fossils hung from necks and doubled as belts at the waist. Another example of unconventional creativity (which was quickly picked up across Instagram) was the appearance of a topless model simply dressed in a pair of slacks with his chest hair curled into the brand’s moniker. All things considered, this collection was emblematic of Art School’s intent to continue to reject aesthetic norms this new decade and beyond.