REVIEW: Molly Goddard Resort 2018
Molly Goddard is known for her tulle princess gowns. This time Goddard was ready to show the evolving line along with past pieces, claiming that it wasn’t a celebration but a show of what has made Goddard the new generation.
Goddard always creates a dramatic and performance driven show. Often creating a setting in which the models can interact; making it a more realistic setting for the clothes. Perhaps this is a clever curtain that is being pulled over our eyes – showing just how the clothes are realistic in every environment.
With the set being created by her mother, Sarah Edwards, it is a family affair. The three sets show the main inspiration that came from the V&A itself. These original sets can be found still within the museum.
When speaking to Molly herself about the fact that her family are so involved in her shows and industry, she stated that she was lucky. Claiming that her mother helps her out a lot with the shows.
The Delph-inspired living room complete with tiles, wine glasses and freshly-cut flowers arranged by her father. Models dowsed in green were a juxtaposition that the setting needed, laughing in conversation and dancing by the fireplace.
A collection of sculptures claimed the middle of the new exhibition space, with models sketching the sculptures and zig-zagging through the set in tulle futuristic gowns. At the end of centre claimed a magnificently sized bed, topped with lounging models. Reminiscent of Princess and the Pea.
The show created a more theatrical and ready-to-wear line – breathing fresh air to old collections, and showing how theatrical pieces can become involved in an everyday situation.
All the pieces from the Resort 2018 show were recollections of the past and hints at the future. Goddard included playsuits and dresses from her original Central Saint Martin’s graduate show, such as a white knitted playsuit with thick black underwear underneath. With a sense of grannie’s old embroidery was soon enhanced with the showing of skin beneath the suit.
Designs from her past collections highlighted what Goddard has become synonymous for. Multi-layered pastel tulle dresses in bright blue, pink and greens.
Past pieces from previous shows had been styled up differently, mixing and matching collections together to make something fresh in the new exhibition centre. Not only this, but making the collection more playful.
New dresses from Goddard included a black tulle pinafore dress, the under layer included intricate patterns on silk with miniscule flowers. On the catwalk the flowers blossomed from underneath the see-through tulle. The black tulle added to the new sight of Goddard, which has previously been a kaleidoscope of colour.
Other new designs that will be more than likely seen in London Fashion Week included a glimpse of Marie Antoinette silhouette. The two-piece dress billowed, the frame reminiscent of the 16th century, skirt added a sense of structured movement, which is not so memorable from previous seasons alongside floating textures of tulle.
Throughout the show there was a sense of contradiction; with the mix and match of old and new collections and historical and futuristic references.
Probably the most show stopping dresses from the show were the exhibition pieces which had been in the NOW gallery. The dresses, which in the show were red and black, had been embroiled on by the general public who attended the gallery and were 4 metres long. Previous dresses from the gallery had been auctioned off and made around £4,000. To which Molly laughed with models about, stating that it wasn't too bad for a dress.
Something that Goddard isn’t too often known for are her simpler garments such as trousers. Teamed with rainbow jumper’s and underneath laser-cut plastic aprons and embroided nylon neon leggings.
Silver leggings embezzled with sequins; teamed with a grey tulle dress possessed a sense of futurism in a medieval setting. Similar to the knee boots that were created earlier this year for Topshop.
Goddard made sure that the dresses and pieces were a statement, which isn’t so hard to do, making sure that the shoes were kept minimal.
Her SS17 Topshop shoe collection added to the outfits, classic flat ballet pumps were on most models, but shiny silver sandals and flat wet shoes made the dresses more child-like and fun.
Onto the final show of the day at the museum, of which there were 4, the models seemed to let lose. Dancing on the bed and at the living room set. Throughout the show there is a sense of intrigue towards Molly herself.
What Molly does best is hiring models from all walks of life, not only this but real girls who are all different. In a sense, Goddard shows that her designs are for everyone and that you don’t have to be a 6ft model to get away with tulle. As longs as you are having fun in the designs, that is all that matters.
Goddard creates a sense of light-heartedness within a serious industry. Showing that not only is she the new movement of the fashion industry, but she is making a stand for what fashion should be.