As soon as we entered the grand church like setting over two hours before the show was due to start, the theme of the collection became almost immediately apparent; think grand opulence with an eerie edge. This was further confirmed when we spotted hair and make up which was in full swing consisting of messy ponytails tied up with burnt out ribbons and barely there makeup aside from soft brown dark shadow shaded eyes and natural lips (for more on that check out kissandmakeup.tv's beauty report).
On our way to the dressing area we overheard that space was in short supply as the dresses were so big - they weren't exaggerating. On landings between stairs, in between rails and in literally any open space, the dressing room was full of beautiful gowns on ornate mannequins which were still being stitched and sewn here and there with the most beautiful embellishment we've ever seen up close and personal. Giles Deacon himself was around calm as ever overseeing the proceedings.
Although dresses varied when it came to shape and length (there were some sleek maxis, short high volume skirts and full floor length gowns) the main theme remained consistant throughout all looks of the show; the items reflected clear artistic inspiration soaked in history and depth. This was made interesting with the broken down deconstucted element seen in the form of burnt out fabrics and messy-ness.
Let's face it, if the past two seasons are anything to go by, Giles is fast moving on from being a red carpet gown designer to the heights of couture-esque design.
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