Preen by Thornton Bregazzi's AW20 runway show offered 'a sensory overload of opulent textures – from gold to glitter – and de- and reconstructed garment decoration,' writes Vogue fashion critic anderscmadsen.
Explore the looks, models, and beauty from the Preen By Thornton Bregazzi Autumn/Winter 2020 Ready-To-Wear show in London on 16 February 2020, with show report by Anders Christian MadsenPreen By Thornton Bregazzi Autumn/Winter 2020 Ready-To-Wear collection Y ou can see how designers could get lost in the historic amusement park of Venice. After all, there’s a reason masks became this city’s trademark, forever telling tales of its colourful past and the debauchery and mystery that went down here. It was the case for Thea Bregazzi and Justin Thornton, who had caught the Venetian bug on a holiday to the Biennale and combined their impressions from the city with the cinematic reference of Don’t Look Now, which takes place there. “The dark romance and the medium bringing back the child have this dark sinisterness to it,” Thornton said, referring to the thriller starring Julie Christie and Donald Sutherland, who are approached by psychics claiming to be communicating with their dead daughter. Scored with the dramatic soundtrack from the film, the show captured the overwhelming and obscure sides to the majestic water world, in a sensory overload of opulent textures – from gold to glitter – and de- and reconstructed garment decoration. It was a massive patchwork of wardrobes, many of which directly referenced those of the characters in Don’t Look Now, hybridised in a complex myriad of construction. Take for instance looks that spliced camouflage shirts with polka dotted blouses and tucked them into argyle jumpers transformed into skirts, worn with a thigh-high boot. Or, the heritage segment that opened the show, which drew on wild exaggeration in component expansion with blown-up and reshaped collars, widened lapels and oversized ballooning trousers slit up the side, all styled in clashing heritage patterns. Some dresses and skirts were erratically draped in ruffles – some suspended from the fabric – while others had their bustiers padded with the stuff. The end got particularly sense-obscuring, from pixelated Madonna and Child motifs on dresses to the transparent print dresses layered over gilded bodysuits in oscillating filtrage effects. Don’t Look Now said the show notes, but often you had to look at least twice. Half of the fabrics in the collection were sustainable, including tweeds made from end-of-line stock from British Woollen Mills, recycled knits, and georgettes created from recycled plastic waste. In a world whose environmental crisis has effectively sunk Venice by nine inches over the last century, they were show notes worth highlighting. By Read more: British Vogue
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