Lesbian psychodrama ‘The Bitter Tears of Petra von Kant’ inspires structural silhouettes splattered with paint and layered with furs
The bold and the beautiful, in autumnal colours on acid. Like a stylised take on psychedelics, Ilincic splashed bright, fluid waves onto the canvas of her softly folded and sculptural silhouettes. Nipped-in waists and full skirts were shown on a raised, swirly stage by Gary Card under the reinforced concrete elliptical arches and stepped windows of the 1930s Seymour Leisure Centre – on top of what used to be the main pool.
Texture and surface:
Texture was the starting point for the designer this season and it came across in rich jacquards, laser-cut leathers and hand-embroidered latticed plastic leaves, all proposed in the brightest of purples, pinks and orange – colours that are never far from the designer’s painterly heart.
Backstage, surrounded by well-wishers including Stephen Jones and Natalie Dormer, Ilincic spoke about how she’d looked at Rainer Werner Fassbinder’s cult 1972 film The Bitter Tears of Petra von Kant. “The whole mood of the movie really inspired me, so I tried to portray this emotion,” she said. The fluffy shag carpet that runs throughout the lesbian psychodrama – the least subtle but best ever use of symbolism – was echoed in a flurry of furs inviting touch. From soft, tactile fold-over clutches to oversize stoles worn crossed under metal plate belts like lapels, dyed fox was also used to vivid effect – not least on intarsia fox coats that looked like sophisticated and abstract sheets from a paint-by-numbers book.