- Text Lewis Firth
- Photography Harry Clark
- 16th June 2015
Innocence is an attitude ostensibly attained by all. Honestly: no one is, really. Everyone’s perverse and rebellious in some capacity. Take Elvis Presley, who, at the time, was a sex-icon and wanted by many – but simultaneously charming, kind and polite when in public. This mix of conspicuous deference and dark fantasy is what anchored Katie Eary’s collection yesterday morning.
The most notable feature, the use of ‘My Little Pony’ as a repeating motif, was how she channeled this contradiction – a jizzing pony with pretty, pink, flowing hair. A playful, dark depiction of a somewhat undeniably innocent character – Katie’s representation of the truth. Society reinforces layers of fakery, energising them with outwardly false behaviour. The idea was furthered via trompe l’oeils, showing beat-up denim and chunky knits printed on a low-gauge, knitted fabric, while glossy sheens of silks, satins and leathers – all printed in typical, acidic Eary-hues like pea-greens, aquas, pinks and teals – were meant to represent childish, plastic toys. Another facet to Katie’s candid narrative.
But what concluded all of these sinister, but happy, vibes, was the channeling of 50s attire – when the ‘teenager ‘ was born. Models’ hair were hairsprayed up; sunglasses on; tees and shirts were paired together but left unbuttoned and loose; and cotton shorts were worn under trompe-denim shorts, with the band peeping out. It was a modern-day representation of a rebelliousness thought to be left in the past – but one successfully reignited in true Eary style.