From the Chiasmus Archive: "Gareth Pugh Spring 2018 (Ready-to-Wear) – London Fashion Week" November 4th, 2017

(Images from Gareth Pugh)

Gareth Pugh’s transition from fashion shows to production and costume design show pieces, appears to be his fortified substratum for a designer whose next perspective in aesthetics is the combination of both film and design.  Within the context of fashion weeks that are both shown (particularly) in New York and London there is an inundation of brands.  And it’s overt desire to have runway shows, all mixed with the ‘bubble world’ of interconnectivity and digital globalisation.   Truly, as Andy Warhol once said, “In the future, everyone will be world-famous for 15 minutes.”  All delivering a promise that everyone will become entrepreneurial superstars within a social justice Utopia.   In the mean time, yes, we may all get our fifteen minutes of fame, but within a world that is a ‘bubble’ of over expectations and it’s entitlements – there is even a queue for that fifteen minutes.

The problem, which are numerous in magnitude, in relation to the fashion industry.  Is that fame from creativity from any angle, is only developed with skill in it’s creation of aesthetics.  And that takes time.  Which would entail, a long time.  For you to make it, chasing fifteen minutes of fame through a fleeting digital imprint.  Would be a waste of time.  The absurdity here, is that most know this, as time wasting is that distraction against hard work and dedication.

I’ve coined a term called Dystopic fashion (please also refer to Xeno-Structuralism), and since Gareth Pugh has an affinity for science fiction inspired consume and fashion design.  Dystopic styles seems fitting for his Spring 2018 collection.  As Pugh declined the traditional runway show, but rather set a precedence with a short movie production piece while taking appointments for his Spring 2018 collection at a showroom in Paris.  This latest expose of Pugh’s unique vision portrays a glossy radiance, that seems closer to a neon lit underground, while at the same time reflects a harsh starkness.  Which would have struggled trying to create the same impression on the traditional runway.  Pugh’s desire to embrace new forms, in my opinion, seems to be cultivated by a declining global culture.  The ambiguity within it’s sub levels of a built up city, is a future that we are witnessing now.  So, despite the radiance and it’s paradoxical starkness, there is an inherent darkness.  A fear.  The short movie, which accompanies this collection, has a dark and disturbing, but poignant message.  For the viewer to dissect.

(A.Glass 2017)