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| Photography by Lucas Seidenfaden |
This act was followed
by a relentless expression of pure creativity. Clashing latex with hand-worked
vintage Italian lace, eye-popping paint splatters with extravagant satin ruffles
and yards and yards of tulle, Ghanem let his creativity run wild. Credit should
be given to the designer for his adept ability to combine all these elements
and not end up with a show filled with little more than couture-cut costumes –
the result of the impeccable quality and finish of his garments and his eclectic
and well-researched inspirations – this season the Polish film Matka Joanna od
aniolow (Mother Joan of the Angels).
Silhouettes remained
structured, as boned corsets and basques with sweetheart necklines sculpted
forms and amped-up assets. These strict shapes provided the basis for ostentatious
ruffles, tiered panelling, shaped pleats and delicate needlework, these
voluminous forms recalled the drama and pomp of the Rococo era, modernised with
a palette dominated by black and white. The colour, when it came was as
dramatic as you would expect, veering from blood red to multi-coloured paint
drips that extended across faces and torsos, perhaps a homage to Jackson
Pollock?
Ghanem’s decision to
reject the model norm in favour a broad cast of quirky individuals was a
masterstroke. By listing the details of each creative on the press notes
(details included name, occupation and contact details) the audience was able
to identify with and build characters around each piece, in fact each model
imbued every creation with a sense of their own personality. Despite the
undeniable flamboyance of the designs the model owned the catwalk.
The audience may have
had high expectations, but they were certainly fulfilled, judging by the cheers
and rapturous applause that greeted Ghanem as he took his final bow, accompanied
by his favourite niece, herself a show model.
Text: Victoria Loomes