With designers seeking new ways to strike the emancipation offered by the onset of minimalism, Louise Amstrup – much like Marc Jacobs in New York – offset sharp, unfussy forms with sententious femininity. If Spring/Summer signalled the flighty evolution of her stark aesthetic, then – anchored in the inspiration of Natural Born Killers’ Mallory Knox – autumn welcomed an elegant stomp through rebellion.
From sharp Zoot-suit crombies, strong but not overpowering at the shoulder, pitched in nubby, asphalt wools and peppered with sharp patent panels to the subtly Mod-ish shapes of slender crew neck shifts panelled vertically in bands of silk, wool and leather, crisp structured silhouettes stood both as a literal invocation of empowered women through the decades and as a visual representation of hard, sharp insurgence.
A foil to such blatant severity, hyper-femininized Fifties forms – hinted at with cropped, voluminous sweaters that bordered on bulbous and the sinuous silks of wide-leg trousers hitting high on the waist, classic oxford shirting and pixel print floor-length eveningwear - came realised in skater-skirt shifts. If curving, flirtatious gowns and classic shifts read as apple-pie housewife, the collection’s patent leather refrain – picked up in a panelled hem, angular darts edging toward the bust and most notably, glistening, wet-look skull caps offset the retro with a timely slither of S&M subversion.
Images by Katy Davies
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