I liked the idea of Pegasus firing lightening bolts down on Bond Street, laughed Giles Deacon, post show, by way of explaining the galloping horses and smashed glass prints that appeared throughout his collection on everything from spare 1960s shapes to voluminous gowns.
It just felt right to do something more severe and graphic. Ive always liked that oscillation between romance and severity, he explained.
Coming from last seasons brilliant collection of scorched hems and burnt holes, into this smashed glass business made you wonder if Deacon had something more sinister on his mind. But then you only had to look at those beautiful dresses be they slithering long columns in bold monochrome or of the dreamy romantic fairy tale variety - to know this probably wasnt the case.
This was classic Giles. All the touch points, Gilesisms, you would expect of him were there. The cool, precise trouser suit, although only one, in charcoal, made the cut this season. The louche pyjama ensemble, this time printed in black and white stripes or winged horse, Pegasus. The sexy corseted day dress here, with a spray of smashed crystal under the bust. And the knockout gowns too many to mention but the long bluebell-hued number sprayed with crystal-embroidered mesh and the dress in black and white tiers of punctured leather, so fine it could have been mistaken for lace, were both particularly out of this world.
It would have been hard to spot a piece that didnt meet a level of couture-like craftsmanship, but then Giles is no ordinary ready-to-wear designer and has been operating in his own fashion dimension for years, creating special one-offs for his legion fans Victoria Beckhams sensational Olympic closing ceremony gown, being the most recent.
If anything, this collection was a House of Giles couture calling card. Unless of course a natty little monochrome smashed glass print dress is more your style.