Few designers know their clothes – really, really know their clothes – the way Louise Goldin knows hers. Like a picky eater who insists on cooking their own food, because they know just what went into it, Goldin calculates her designs based on what she can truly pull off. Specifically, she knows the inner-working of the the machines themselves, that produce the couture-like fabrications that have made her outerwear pieces such contemporary classics among the London fashion set. No toxins or preservatives in this temple.
Least to say, Goldin is not a complacent designer. That fact is most obvious, not in her sci-fi fabrics and textures, but in her brilliant pattern-making. The show may have been heavy on outerwear, but the skirts here stole the show. They came spliced and patched in any number of assortments that should not have worked, but did because they all managed to keep the same silhouette (somehow, someway). Quilting is already a front-runner for trend of the week, and though the technique worked splendidly on those opening cropped sweaters, its effect felt even more inspired and audacious as a giant panel on a skirt that gave way to blue and white strips of jersey. For a collection so polished and covered up in intarsias and quilted cottons, it offered its fair amount of titillation in return, and Goldin didn’t have to scrounge up too much technical flim-flam to get to those ends. One solid white tube dress with long sleeves was a show-stopper, as was a ribbed red knit with a black bandeau panel, the ruffled tips of a white dickey poking out from under the collar. A series of apron dresses even had a fetishistic vibe to them – “The Butcher’s Daughter”, if you will.
This is only Goldin’s second time showing on American soil, but after her show at Milk Studios, some of her newly acquainted state-sides left the show in raptures. No one would be surprised if a good many of them B-lined it for the nearest computer, where they could take a look at the rest of her catalog.