It must be something in the British Soil that breeds a certain Subversity in it's Fashion Designers. Giles Deacon is borne from that Rich Stock and is one of the best Practitioners of the Melancholic, Arty Beauty. Spring 2014 saw that vision of Haunting Couture restrained more so in it's measure for more easily wearable ideas and less affected Garments.
Deacon has always had a Dark, Brooding Romance to his collection that has earned him fans of a certain ilk. This collection, will definitely seem more communicable to a larger audience than the one that has been culled by Deacon so far. His Clientele is one that has a Strong, Determined and Somewhat Fierce Hauteur. Deacon breached the new ground by softening his approach and His collection has seemed to breathe with this new ease.
Opening with a section of dresses Photo Printed with Models from the good old days of the 1990's (Grunge? Again...???) by his longtime friend, Glen Luchford who was one of the chroniclers of the Grunge days and beyond. The prints of Amber Valetta, Kate Moss, Guinevere Van Seenus and Amanda de Cadenet were treated with Acid or Sepia Washes to change the colours in the opening section giving them a antique, faded feel but without the fading. The simpler nature of the opening outfits lent to the dramatic photo prints taking prominence with out overshadowing them with Complicated Construction! The later versions were Black and White versions and lent a somewhat more Cleaner feel to the prints which, of Kate Moss, Would be in full colour in the last Two exits of the section!
A gap tooth Smile Print reminiscent of "Rocky Horror" showed up next. Especially Beautiful in a Pink Dress with Lip Embroidered net sleeves at Exit No. 21. And Then... The Bats Showed Up! Yes, Die Fledermaus! Flying Rodents. BATS! I Know! Yes, Yes... YES, It seems BIZARRE! But it worked in such a Stunning way that it was only confounding to believe that no other designer had gone this route before!
The Bats at first were only rendered in prints and then a respite into some pale nude and Feather Pieces that was especially Beautiful at Exit No. 33 in a full blown Strapless Tulle Ballgown! Then in the Final Black Section, The Bats showed up first in Jet Bead Tracery embroidery then fully realized into anthropomorphic form in the last outfits and reached a Crescendo of Dark, Creepy Beauty in the last Two exitson Ondria Hardin and Binx Walton. Binx's Finale Exit was built on cutout Bats layered and overlapped in Profusion over Black Tulle in the most Fantastical Manner! The Titanic Headpieces only added to the Majesty and Kookiness of such inspiration!
Deacon's Dark Drama Yielded a Collection of Immense Depth and Beauty. One that will be remembered for many years to come, if not only for the reason that it was so strangely compelling and outrageous, But Accomplished with such Finesse and Expertise that it will resonate for seasons after... You Never Know... Bats may be the next Big Thing!