Coloured glass screens lined the corners of Peter Pilotto’s maze-like set at Victoria House, causing guests to see the collection through multiple layers of light and depth. It was an effect employed by Christopher de Vos and Peter Pilotto to create a cinematic perspective, which also entered into the collection itself in the shape of white lace crinolines styled over the designers’ electric digital prints on highly voluminous dresses, producing a dramatic sense of layering and texture, which was practically 3D. There was a kind of madness to it, accentuated by the very loud silhouette of the vibrant maximised skater skirts jutting out in all their stiff, perky flamboyance.
Perhaps this was the constellation Pilotto and de Vos referred to as ‘volcanic bursts of colour’, drawing on the colour used in drawing by artist Ken Prince. The collection didn’t have the almost hypnotising sense of it infinite print power, which Peter Pilotto’s shows sometimes leave you with, but it was delightfully bonkers and for that reason a breath a fresh air amongst the austere little floral prints of most other London shows.