Pilotto's collections have long been my go-to moodboards for the silhouettes to recreate with as many layers of my own clothes as possible.
My cyber absence over the past week can be seen as both manic preoccupation, and complete lack of creative inspiration - they say that late nights will give rise to your best ideas, but I can vouch for the fact that this is only true when you're in bed with your laptop. Interpret that as you will.
But now, with Australian Fashion Week but a week away (guys, just tack it on the end of Fashion Month - runway imagery gets tiresome and Australia desperately needs it), I have dragged myself out of this rut with some of my proudest photography from New York and London. Perhaps you can then compare next week's showstagrams with the likes of Peter Pilotto, 3.1 Phillip Lim, and even Yigal, before forming an opinion on the state of consumers and retail here.
And so, rather vaguely, we come to the beautiful topic of Peter Pilotto. Where one would look to, say, Phillip Lim or Rag & Bone for styling ideas, their creative directors (and, of course, I) would look to Pilotto and de Vos' collections for the basic shapes and silhouettes to recreate with as many layers of one's clothes as possible. It is quite clear that the duo command every technique across paneling, blocked textures and the mediating details in between. Their sources of structural concepts are never so blatantly obvious - an incredibly intricate road-mapped mammogram knit, crossbred with ponyhair and rows of lace-up stitches may have found its beginnings in a corset. On the flipside, as puffy as these down coats would seem, there was no attention lost to the female form - the patterns still followed the same shapes and flattering lines.
Unknown to face value, I most appreciate that the label relies so heavily on illusion - something I will always keep in mind while styling.