No one is better placed than the designer, here Molly Goddard, to talk about her collection in her own words:
‘’I have always been obsessed with Villa Menafoglio Litta and Giuseppe and Giovanna Panza’s art collection. Years ago I found images of them sitting in their ornate Italian Villa in the 1950s surrounded by Claes Oldenburg papier-mâché dresses and Yves Klein. I love the textures and contrast between modern mess and traditional lines.
[In the collection] there are stories that are exciting to me: messy chunky frills, smooth floppy frills, straight smocked voile, checkerboard cotton knits and then all the mental accessories that have been so fun to work with. I am working with Alice [Goddard] again and she brings a new energy to the whole collection and puts looks together I would never have imagined.
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I do feel disappointed not to be showing, I love the whole stress of a show. It’s the only way I think you can get those six months of hard work out of your system. I loved the idea of doing a small salon show in our studio, I wanted people to see where and how we worked, even if it was only a handful of people. I liked the idea of the people who came to see it remembering it and talking about it. Doing a film does feel exciting though, it does take a certain amount of pressure off everything running so smoothly and we can do more looks now which is always fun!
I hope [the collection] makes people happy. It’s been a hard few months and so I wanted to make something that might brighten up someone’s day … I think escapism is so important and especially now; fashion has always been a big part of that for me. Feeling good in what you are wearing can change your whole outlook on a day … I have always wanted to make clothes that people enjoy wearing and feel comfortable in but I also really value making clothes which are totally unwearable and impractical, I don’t really see the point in it otherwise. It’s a very lucky job to have so I have to make the most of it.
I have learnt recently how lucky we are to be so local, 90 percent of who we work with, at every level, from sampling to production, are based in London. We have a proper community of craftspeople and makers who are close by. I didn’t appreciate how special that was until recently and I think it’s important to maintain that, even if it makes it harder to grow as a business I think sticking to working with a close community is vital. I would love to do a show next season, probably smaller than we have ever done and still in our studio but I want people to be there and I want to be able to celebrate with my team and friends afterwards’’.
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