Giles Spring 2012 Ready-to-Wear Collection
by Alexander Patino
A set of photographs that the late Sir Beaton snapped of his two sisters, Nancy and Baba, entitled “Symphony in Silver” was the initial spark, so to speak, of Giles Deacon’s latest outing for Giles. Warhol’s imitated to death ‘Silver Clouds’ took the baton from Beaton for a show that was laced in theatricality from opener to closer. In the run of the show, Marihenny Passible opened wearing a beautiful white suit, but chances are many didn’t even notice the beauty beneath the gargantuan headdress of a white swan perched on her scalp. Ros Georgiu would follow halfway through in a sheer black top and high-waisted silk trousers, a black swan accordingly, holding on to her head through a fastener that almost functions like a choker, as if the sheer and the kinky mask weren’t enough. The last one in his trifecta of quills opus (Trifecta of Quills. I’m keeping it.) I’ll get to shortly.
For all the bombast of the patterned cutouts, the pink blush fur throw, the digitized caftans – there were many accessible pieces offered here amongst the majority of the other wares meant for women who live in the limelight day in and day out. A silver blazer with a rounded edge cut winked towards Balmain. The patterned cutouts didn’t opaque every look, to its defense. It looked quite spectacular on Emily Baker’s silver A-line frock and quite beautiful as a top offset by a pair of fire engine-red pants.
Before Deacon got to the plumage he worked his swans into a hyper-real print, the best of these was the way a printed corset/cummerbund played off the delicate blue of a moonlit lake on the dress underneath. But when the feathers came out, that’s when Deacon turned to deadpan Old Hollywood mode. Most were showpieces surely, but a certain red gown tiered in descending rows of lace was a candy lacquered wonder. Kate King never looked so good. A shiny nude column gathered at the waist also managed to straddle the lines of old-school glamor and modern accessibility.
Giles Deacon made his consummate gesture with the final look on Daphne Groeneveld – three giant red quills meeting at ends to create the bodice of a gown that spills into a cloud of shocking white taffeta, all wrapped in a pretty red bow, that also happens to be a squawking red swan. It already feels like something of a classic. It will be talked about in the same vein as Viktor & Rolf’s tulle collection. Well, maybe not that far, but there’s no denying that at the very least, Deacon created images that will linger.