February 18, 2018 |
And then to the Tanks at the Tate Modern for Ports 1961 womenswear where soft lanterns had us feeling soothed, the sound of rain got us meditating. Oh yeah, blissed out. Jonny Greenwood’s Phantom Thread soundtrack introduced a sense of mystery, subtly felt throughout the collection. Nataša Čagalj created the much needed reality of a woman’s wardrobe, the every day, transcended for the knowing super woman, with a formality, a rigour and a functionality. It reminded us of ‘90s Japan, fuss free and clean, going back to Ports’ roots. Tunics sat smartly over pants slashed up the side from the ankles. Small details elevated wickedly simple silhouettes. Long and lean. Lambswool capes came with handy manufacturing labels printed on them, just incase we forget how to care for our clothes with the instructions made larger than life.
Yes, this collection was making life easy for us. Sighs of relief all round. Briefcase-like handbags spelt out the business, part of the new debut line of accessories. Obi belts secured jumpsuits and curved sleeves added that extra little bit of excitement. Oversized vests hinted at workwear, the sound of reversing vehicles changing the tempo, jolting the flow. Reality. Čagalj wanted this to be a “new urban tribe” of women but these were not cookie cutter uniforms that levelled, these were clothes for women who could be comparable in their confidence. Sure of themselves. Individuals. Guaranteed to look good. No thinking needed here. The light heartedness of Gene Kelly’s ‘Singing in the Rain’ reflected the lightness of the collection through the finale. Smile on our face and all that.
Photographs by Jason Lloyd Evans
