Mood board: ‘Goddard’s woman doesn’t get FOMO. In fact, she isn’t too sure what it stands for’: teased the accompanying press notes. ‘Through multiple silhouettes she remains the same – straight-forward, uninhibited and comfortably over-dressed.’ This defiant clarion call echoed through the line-up of double-layered taffeta dresses, psychedelic tights and day-to-night skirts in brightly-coloured mesh or a warped gingham pattern that resembled one of Bridget Riley’s op-art prints.
Best in show: Of all the fanciful dresses, there were two that stood out a mile. A gold drawstring dress with ruffled contours, and an outlandish neon orange mesh number, which seemingly floated around its wearer like a cloud. Not forgetting the diverse model casting by Alice Goddard (Molly’s sister and long-term collaborator), which felt as empowering as the clothes themselves. It’s little wonder Goddard achieved a generous round of applause.
