The ‘3D embroidery’ features were the result of Koma’s collaboration with artist Sarah Angold. ‘It’s quite architectural and light at the same time,’ the designer told us after the show. ‘I wanted to get a feminine, futuristic, tribal effect.’
But the clicking, clacking, shining Perspex-adorned dresses didn’t appear until late in the running order. This was a collection that consisted of looks building upon looks, with each garment adding a more complex element to the blueprint set by its predecessors.
In this way, from the first all-white dress, Koma introduced slight gradations in colour, from buttercream to yellow to hot pink, before switching over to a black-and-bright scheme.
Koma researched tribal themes for the show, and the resultant patterns also grew in complexity. What started with a fine white devoré dress under a shredded white leather corset-skirt evolved into shimmering sequinned patterns.
Developing the collection this way and presenting it against a drumbeat soundtrack built excitement and anticipation, so that every onlooker wondered what the next look would hold.
Backstage, Koma told us that he always keeps in mind ‘a woman happy in her life, confident, someone really knowing that everything is going to be great’ when he designs, and the early, paler looks read like Palm Beach by way of MIA. The black-dominated dresses with kilted elements brought us back to the party frocks that also serve as this designer’s trademark. Either way, he’s sure to find one happy customer.