by Penny Martin .

Giles Deacon gets serious?

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The opening track from The Cocteau Twins' 'Bluebell Knoll' is about the unlikeliest fashion show tune I can think of, but it was the recurrent hook for Giles' impressive procession of beautifully crafted gowns last night. Apparently the designer had been raiding his famous record collection and the albums of cult indie label 4AD (responsible for what was known as 'chick music' in Glasgow in my teens) had inspired the mood. This led to a long chat afterwards with peer writers about the aesthetic of 4AD and how its art director Vaughn Oliver represented the antithesis of that symbolised by Peter Saville at Factory. Was Giles making a Gothic, feminised riposte to the Modernism so beloved of Raf Simons and all the Saville lovers? You would be hard pushed to draw Deacon himself into such an intense, self-conscious conversation, however. The press-savvy charmer would probably reply they were just a bunch of spectacular frocks, fashioned from layers of net ruffles, the finest leathers, some funny prints, faux fur made from masses of elastic bands and what looked like a pile of thin, rubber leaves. And they were!