Written by Guest Agenteur
The Great and the Good turned up in support of the genius of Giles. His last few collections having firmly established him as a serious contender in the realms of international level glamour.
The setting was the exquisite Stationers Hall which could not have been more fitting for a collection that evoked the heraldic mixed with elements of fairy tale glamour and tailoring that had more than a nod to the Mad Hatter.
Satin bodices were overlays of “branches” set against skirts which were sugar shaker full, crisp and luminescent.
Glitter dresses of silver sparkle were given eerie highlights in the form of blood red roses with burnt edges – a theme that carried through as texture on other elements of the collection. Silver glitter cloud motifs worked alongside intricate unicorn embroideries as silhouettes spanned bandage slim to glamorous volume. The peplum continues into A/W and school ma’am collars are back, as crisp white shirting is worn under seriously slinky columns of black satin and as a complement to the reinvented three piece suit. Opulent opera masks of quills and feathers added a touch of the other worldly to a collection that gained gasps of approval from the gathered crowds.
Make up was natural beautiful and glowed with nude lips and the smallest hint of kohl at the eyes, whilst hair was pulled inexactly back in low pony tails and tied with distressed ribbon.
Giles’ celeb front row included Britain’s favourite pin up Kelly Brook who wore a dress in her signature 1950’s style: full skirted with a daringly low V-front that caused a stir amongst the gathered fashionistas. DJ Nick Grimshaw sat chatting with best pal Pixie Geldof who herself was dressed in a sedate navy and black ensemble with her pale gold hair scraped back channelling super model Daphne Groeneveld.
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