Actually, no, it's not that he's 'unstoppable' - that word can imply a certain frenzy, a commercial endeavour or hysteria that is a far cry from what Gareth Pugh is about. But the reason that he is unstoppable is that when his collections are good, they're bloody good. They are incomparable, unstoppable and unassailable. It's not about commercial endeavours and accessibility nor is it a loud mouthed fuck-the-system middle finger. Gareth Pugh lies somewhere in the middle of fashion revolution and avant - gardism and a democratic, humble approach to his audience and buyers. Nobody will forget his first ever collection for spring/summer 2006, that fearless vinyl clad homage to Leigh Bowery, the grotesquery of black and white pointed silhouettes. And now queue eight years later, we are seeing a mature poignancy, a defiant talent who (without a chip on his shoulder) consistently presents original visions of a dark, otherworldly queen. In her own perturbing way, she reigns alongside Pugh in all-white this autumn/winter 14.
An all-white, controlled decadence takes on an independent form from the body itself. From top to bottom - the hat, cape, dress and boots all dominate the body in settings of white wool and leather. We barely see the face and the silhouette speaks for itself. There's something of the New Look in the dress, and the sharp caping and shoulders belong to Pugh's own aesthetic. The look resembles a moulded cast of utter femininity, made uncanny with leathered trouser boots and the Holy Mountain hat.