Eschewing the static formality often expected with presentations, Louise Gray instead invited Jeanette to the decks, and sent her girls dancing - living in pieces that embodied their bounding, girlish insouisance. Primary colour eyebrows and crimped hair, fur bedecked high tops and tie-dyed socks donned alongside poke-your-head-through seaside props hinted at a joyful escapism that continued to the collection itself.
Loosely carrot shaped trousers and wide-legged shorts, bubble hemmed skirts and easy almost Japanese inspired jackets stripped of structure came patchworked and embroidered in a riot of clashing prints, colour and texture; from sheer overlay to DNA in green and orange, zig zag to a hint of Najavo. Shift dresses and rumpled twin-sets were injected with a similarly girlish-gone-grown-up quality when executed in lime green and pieced together pastels. Fur too - when taken to near floor lengths and dyed fuschia, gray with orange sleeves and a deep cobalt and gray stripe - reverberated with pure mirth.
Perforated grey jersey and a quilted bomber gave an explicit nod to sportswear whereas wide-leg silk trousers in navy blue and paired with a felted cut-out scarf, plum top hat and Nicholas Kirkwood patchworked heels saw evening wear given an identifiably Louise Gray twist. The resounding impression? That of a jumper constructed for three, hammered to a paint daubed backdrop. Impractical yes, but in all its casual playground ease it epitomized a collection and a world to which anyone would surely, and happily return.
Photography by Palida Boonyarungsrit.
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