La vie en ruches by Molly Goddard

Among the most anticipated names of the second day of London Fashion Week is Molly Goddard. The London-based designer chooses the luminous reading room of Central Hall Westminster for her fashion show , an early twentieth-century building that now hosts conferences and congresses. And where the Goddard girls in tulle move with the now typical dreamy gait. To make the atmosphere even more special, then there is the setting, with the classic benches replaced by a sequence of laid tables, so that the guests can refresh themselves with bread, butter and white wine.
The parade begins and, although nothing of what you see represents in itself a novelty, the intent of evolving shines through, experimenting with new ways of understanding the ruffles symbol of his creativity.
There are still swaying bell-shaped dresses, alternating with digressions on the theme in a compact cotton, reminiscent of certain aprons of the nineteenth century. There is knitwear worked with typical Scottish patterns and rough in appearance rather than touch. And there are certain coats with a severe cut, perhaps enhanced by a thin red bow. In short, there is all the imagery with which Molly has imposed itself on the public's attention, yet electricity remains high in the air. At the end of the show Adrian Yoffe , husband of Rei Kawakubo with whom he leads Comme des Garçons , slings backstage to congratulate him. For a girl who dressed up to go for a ride to the Dover Street Market (which now sells her line) must be a great satisfaction.