Limbs appeared to emerge from an inferno, first devoured then revived by purifying flame. And on the other hand, yours truly can recall very few instances of a garment coming as fully alive as Pugh’s fire-print dresses did in a sequence where they were worn by a troupe of gyrating dancers. Hollywood would be lucky to have him, and as for Knight: Your humble reviewer can’t recall the last time she witnessed a scene as properly primal and ghastly as the one here where Knight, on camera, reached into the clay belly sculpted on Pugh’s torso and pulled out what looked like. It’s not hard to imagine him following in the footsteps of Tom Ford and the Mulleavy sisters in developing a career, or side-career, in film. Whatever you make of his clothes from a practical wardrobe perspective, Pugh has always been a creator of indelible images and a strong storyteller with his fashion.
Pugh’s film was a hair-raiser, in ways both lurid and sublime.
As it turned out, the sturm und drang was a fitting aperitif for the drama that followed. Pugh’s screening this afternoon was preceded by a bit of live theater: Animal rights activists lined the walkway into the show, shouting “shame on you!” at attendees as they entered. Working with storied photographer Nick Knight as director, choreographer Wayne McGregor, and artist Olivier de Sagazan, among a host of collaborators, Pugh debuted his pièce du cinéma on what is-apparently-the largest screen in Europe. In lieu of a catwalk, Pugh decided to make a short film expressive of his latest collection. You can add Gareth Pugh to the lengthening list of designers taking a pass on a fashion show.
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