Football casuals emerging from a violent riot, their striped polo shirts torn, stretched and frayed so that weaves are open and warped, long strips of fabric trailing mournfully on the floor. Worn with super outsize trousers, which flapped and swished around the legs, the collection was full of dynamic movement and shape-shifting, blurred silhouettes.
Joint winner of the L’Oreal Professional Creative Award (with Ondrej Adamek), Power’s collection saw gauzy, tissue thin black drapes adorned and weighted with thick loops in yellow, blue and white – like squiggles of paint squeezed from a tube. Feet were encased in bucket-like shoes, with abstract headdresses and chin straps formed from starchy, gauze swatches.
You heard this collection before you saw it; the rat-a-tat-tat of thousands of glass beads against moulded acrylic. The polished futurism of solid acrylic bell skirts framed the intricate craftsmanship of openwork fishnet tops, which on closer inspection were made entirely from fine threads of tubular beads.
The orderly silhouettes of military khaki juxtaposed by swaths of raw edged goat fur skins; like a fast tracked evolution of man from cave dweller to uniformed fighter. Pockets and panels appeared moulded into the wool in sharp military precision, while the jagged un-finished edge of fur skins formed the hem of a strapless top, and cuffs of fur gloves.
Loose weaves of wiry black and silver metallic threads left loose, looped and frayed created an uneven shimmering surface, like coal. Stiff A-line skirts in thick folds rustled as they shifted from side to side under the rhythm of the model’s walk. An intricate futuristic vision completed by clear Perspex sandals, with soles so thin that from the front it seemed the model was walking bare foot.
Follow Natasha Slee on Twitter here @tashalouises