Sky high hair and a tough, austere elegance ran through Kinder Aggugini's show, inspired by American art collector, the late Peggy Guggenheim. For his Autumn Winter collection the Italian Glaswegian designer brought together stiff and strictly shaped cashmere felts, juxtaposed against flowing printed silks. A feeling of updated, contemporary evening wear was central to the collection. Detailing included seemingly unfinished hems, visible stitching and fabrics with geometric floral shaped laser cuts. Kinder's colour palette relied heavily on whites, blacks and shades of grey with the occasional bold and bright yellows, pinks and blues. Dip dyed pieces appeared throughout, giving the collection a soft and graceful feel.
Dazed Digital: Where did the inspiration for this collection come from?
Kinder Aguggini: I was in Venice for the winter and visited to the Guggenheim museum. I noticed they had a Miro which was identical to a mobile that I had when I was a child. It made a connection in my mind and I wanted to find out more about the woman behind the museum collection, Peggy Guggenheim.
DD: What was it about her you found interesting?
Kinder Aguggini: In every collection I do I think about this idea of Sid Vicious married Coco Chanel. Peggy Guggenheim seemed to embody that idea. She had an extreme life but at the same time she was surrounded by beauty. She had a very extreme life. Her father died on the Titanic, she inherited many millions of dollars when she was 21 and she moved to Europe, which was very odd for an American. She slept with many artists but she wasn't a whore, she was a muse.
DD: How did that filter down into the collection for you?
Kinder Aguggini: It simply made me think about what this extraordinary woman would wear if she was still alive today.
DD: You used a lot of felted wool throughout the collection.
Kinder Aguggini: It is boiled and felted cashmere, which was then coloured, dip dyed and laser cut.
DD: Can you tell me a bit about the colours you used?
Kinder Aguggini: I wanted strong primary colours and as I had started with the cashmere it had to be bleached first. The idea of the dip dying and the fade came from that. I wanted just three or four popping colours in the collection.