Scene setting: Like designers, guests and members of the public – like Dilara Findikoglu and her provocative societal rally of a show to the Extinction Rebellion supporters peacefully protesting outside Victoria Beckham’s show space – Mouret had been thinking about the meaning of a fashion show, and its place within an environmentally fragile world. This green thinking was reflected in a new show venue setting, with Mouret swapping his usual Brutalist setting of the entrance hall of the National Theatre on Southbank, for the gardens surrounding the Royal Academy in Mayfair, a space made up of cobbled paths with greenery pushing through the cracks.
Mood board: The designer took cues from the relaxed nonchalance of American sportswear; for women, his elegant and light silhouettes including striped silk kaftans, slouchy double-breasted suits, flowing skirts and signature form flattering dresses with keyhole cut outs at the décolleté. Men sported pleated transparent shirts, loose tailored trousers and striped cardigans, and for that idiosyncratic Mouret glitz, carried sequin blazers as accessories.
Team work: ‘I have incorporated the creations of other independent artists whose talents, stories and aesthetics have touched me,’ Mouret said of his collaborative output. The designer worked with New York jeweller Marla Aaron on oversized organic earrings and necklaces hewn from colourful slivers of Fordite, and Berlin company ReHats on caps crafted from recycled coffee sacks. Earlier in the week, Mouret also unveiled his partnership with Arch & Hook and the British Fashion Council, on a 100 per cent recycled coat hanger, made from ocean plastics. §
