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LONDON, United Kingdom — The first model out at Gareth Pugh's Saturday night show wore a Klaus Nomi shoulder, from which sprouted a colossal sculpted halo gleaming with rays of appliqué gilt. It was Pugh's first nod to the 17th century Italian opera Eliogabalo, which the designer costumed in Paris the night before, with sixty outfits to this show's thirty five.
None felt short-changed in this audience however, as Pugh delivered the kind of campy high fashion drama he deeply loves, from those first baroque exits prickling with golden 3D lozenges to a passage of cardinal purple silk draped as easy toga gowns or streaming sash-like from a crisp white pantsuit. Though one sometimes wonders where the Pugh woman may be promenading her powerful silhouettes (a fair few of these were tailored from a glossy starburst jacquard), somehow a Parisian opera house truly feels like a fit.
