Given the ballet studio setting of Emilia Wickstead’s latest lookbook, the first question that arises is whether Wickstead is a dancer herself. “I did jazz and ballet as a kid, but I only ever won an award for the most improved dancer,” she said laughing. “So it’s not to do with any particular pastime of mine.
So what did Wickstead do? Call up a handful of London’s most prestigious ballet companies, and invite some of their most accomplished soloists to model the collection within the surroundings of the English National Ballet’s Centre for Dance.
While there are some new, dance-ready riffs within the collection—masculine, oversized shirting to slip on after ballet class, say, or artfully cropped cable knits to wear while warming up—it’s only natural that Wickstead’s interpretation of the world of dance would lean more opulent given her background in eveningwear. Still, there was an unusually flamboyant, theatrical spirit woven through the collection.
Another notable detail was Wickstead’s use of pinstripes, which she described as having been influenced by the dance teacher’s hovering in the background of Leibovitz’s images. In Wickstead’s hands the classic suiting pattern feels anything but austere. Lavished across soft wools and crepes—and in a particularly lovely pleated skirt loosely inspired by the shape of a tutu—the pinstripe pieces were as light as a dancer’s pirouette.
Indeed, the various chapters of a dancer’s life—the grueling hours of training, the grandeur of the performances, the later-in-life transition to teaching—all dovetailed surprisingly neatly with the full cross-section of Wickstead’s typical product categories, even as she’s made increasingly ambitious forays into tailoring and knitwear. But it’s her romantic eye for eveningwear that shone brightest—and proved once again that Wickstead’s ability to spin a romantic, escapist yarn.
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