The knits keeps getting more engineered and calculated.
To keep hanging the knitwear designer tag around Louise Goldin's shoulders can lead to misunderstandings, especially when you take a first glance at her S/S 10 collection which was full of undulating fabrics that were draped or pleated in such a way that makes you wonder what kind of engineered knit techniques goes into it all. Though Goldin was referencing the Baroque period, it never quite plays out into anything overtly literal. Instead, it was a balancing act between soft and hard; pastel palette, bloomer shorts and babydoll dress shapes contrasted against the provocative pointy bras, an extremity of the bra she has been working on over the past few seasons.
Dazed Digital: What were the references that you had in mind with this collection?
Louise Goldin: They were from going to a Baroque exhibition at the V&A and I found a lot of images there that I used. I felt I have never made anything that was more periodic/historical as it's always about futurism.
DD: What was it about the baroque period that attracted you?
Louise Goldin: It's nothing necessarily something about the period but it was just about taking different images from the exhibition. I never focus on a certain decade. It's just about looking at images and interpret them and design from them.
DD: What was the idea behind the contrast of the sharp bras and soft bloomer shorts?
Louise Goldin: The cone bras have been in development in my work the last three seasons. It seemed right to have that aggressivness against the soft colours. The (pointy shapes) were extreme and that comes from development and I feel it's very experimental like that.
DD: Do you feel you're pushing the boundaries of knitwear?
Louise Goldin: What I do isn't easy and it's challenging to create (different knits). If people think I'm pushing boundaries then I'm just trying to think of ways to make fabric out of knitwear and it's about about understanding which yarns will give the right effect.
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