Perhaps it was because her last season show nailed it to the wall as well as being a huge and expansive collection in terms of ideas and influence, but this season Holly Fulton seemed to revert to old ground. And resultantly, the impact was less wow’worthy.
Yes, sure, there were tons of Fulton’s trademark deco prints and faux naïf appliques but the tone, the feel, the strength was certainly downgraded. Fulton was inspired by man’s relationship with technology as well as Fritz Lang’s iconic Metropolis but this was ironically retrospective of her work rather than advanced and out-there. Fulton makes a point of drawing her graphics by hand, cutting the fabric by machine, and then doing appliqués on the pieces by hand. Detailed and demanding but sometimes, just sometimes, this didn’t come through in the collection which seemed to lack a joie de vivre. Perhaps she’s just tired and in need of a holiday.
Metropolis like cogs became kinetic floral patterns, their stems weaving in and out of leaves and flower heads on satin organza overlays and wool coats. Poised hands, influenced by ads from the ‘50s and the bold graphics of Russian Constructivism, modelled Fulton’s horn & metal bracelets. She is as keen on on accessory design as clothing. This season, they came off the strongest.
Dresses fell below the knee (ie highly wearable) and paired with boxy wool blazers. Autumnal deep maroon and red were balanced by tones of wintry grey (key trend alert) and powder blue. (Ditto).
Fulton is a very upbeat girl and a talented one to boot. It’s a shame she didn’t quite werk’ it as much as she’s done in past seasons. What we need is less emphasis on ornamentation, more concentration on silhouette.