Have you ever seen the movie Paris, Texas? I watched it, by chance, the night before I headed to the Le Kilt presentation and I fell utterly in love – it’s beautiful and trashy and bizarre. If you’ve seen Twin Peaks, think along those lines visually. So, imagine my excitement when I got to Le Kilt and it was a picturesque lo-fi French style feast of a presentation, much in the same vein as the movie. Spider web eyelashes, pouty dewy-faced girls, blocky photo cubes set, red and pink neon style lighting, patent gloves, shift dresses, a-line skirts, berets, brogues… it brought to life what the trash-chic film aesthetic of Paris, Texas delivers on screen.
I think this visual was particularly interesting because of Le Kilt’s focus on heritage and tradition; the presentation centered on the musing, “Sam (Samantha?) was looking at the small every day details that surrounded her and the lasting impact this has on shaping who we are and what we like, love and dislike.” The exploration of craft, ‘rules’ and unique techniques; shapes really gave Le Kilt AW17 an edge that sets it apart from the usual neon-lit femme fashion. It was (also worth noting) impeccably put together; V necks were sharp, collars were meticulously measured for the correct effect, fabric was matched purposefully with silhouette, pleats were straight and stern, knits had neat necklines and ¾ sleeves, shift dresses were cropped on the knee, mini skirts were a-line and fabrics were sophisticated. It felt, which can be often missed, glamorous.
Sometimes at fashion week, especially at London Fashion Week – where new is strived for and championed, there is a show or presentation that takes your breath away. It might be the set, the clothes, the models, the makeup, the concept, or the mood, or it might be the whole experience of all of these. Le Kilt, for me, was the latter. I felt ignited, and I do mean as though I’d caught fire, I felt excited, I felt like this show understood. It was, as the title perfectly captures, A Perfect Contract.