The models at Matty Bovan’s SS20 display came out carrying mask, distorting slithers of plastics, that warped their functions, blew them up. The acquainted changed into warped sufficient to make it sense bizarre, unusual. It changed into a manner, Matty stated after the show, of attempting some thing futuristic – “even though the destiny has been so much and so properly earlier than” he said, he has been attempting to find his very own manner into it.
“The series changed into called Hope and Fear, because we are status on a precipice. No one simply knows what to assume. On the only hand we are doing this display, we’re in London, we're being very creative, however next door, who knows, we can be in for some very dark times. I assume as fashion designers, we're constantly trying to the future – even supposing it's far best a yr into the destiny. It's all approximately the destiny – no matter how near or how distant.”
The masks are a metaphor too, a reminder that all of us rumble along in our very own little bubbles. The future maintains coming but it feels more and more difficult to make any sense of it. But, this SS20 series determined a few splendor among the bricolage of the past – there have been nods to William Morris and Vanessa Bell and color schemes inspired via Charleston, her residence in Sussex. Which is exactly what you anticipate from a Matty Bovan display.
But there has been plenty of newness here too – some looks reversed Matty’s standard, billowing, bottom heavy silhouettes, for attire that enveloped the torso and the top. The starting looks were confined, highly, paired again explorations of uniform. There have been references to hospitals, lifeboats and existence jackets, flight jackets and compression fits and motocross trousers. It became pretty industrial, stripped returned, a set of separate portions that might be study in my opinion, anchored by means of Matty’s explosive creativity and pleasure.
He stocks a lot in not unusual with William Morris – that form of homely charm, that focus on splendor, that commercialism too. But like Morris, below all that prettiness, there’s some thing pretty revolutionary underpinning it, perhaps even a little constructive too.