Catherine Teatum and Rob Jones met whilst working together and became enamoured with one another's sense of escapism. Their presentation for their S/S 12 was a kind of escapism that I would gladly leave my world behind for. 'Sometimes it Snows in April' at the RCA, had all the elegant atmosphere of an old world parlour. As the 50's jazz permeated the room, attendees swanned around with Martinis to gaze at the heavenly array of clothes and the cinematic display of the models on the stage, who with their surreal and insouciant posturing made one feel more of a voyeur to a vintage Hollywood film than to a fashion presentation. The models had a sibling like similarity, pearlescent faces, an otherworldly beauty, were captivating in their performances and the clothes weren't half bad either!
The Braille like fabrics in tones of soft pale pink and powdery sky blues were more than pleasing to a pastel princess like myself. With fluid silk dresses, grand capped shoulder dresses engineered to fill with air and other delicate details and playful proportions; it had beauty and drama in spades. Using crepe de chine and sheer brocade organza and dreamy collages, the prints were employed to toy with this escapist notion by revealing landscapes that deceptively lead to nowhere and shimmering watery reflections that reflect objects that aren't really there.
In its ideology it could be likened to a more modern- yet set further into the past, take on the film 'American Beauty'. This collection was to "examine the sentimental perfection of the American suburbia of the 1950's and explores the darker side of life behind the sugary pastel walls when people get swept away in pursuit of a well-packaged dream of perfection and what happens when that artificial dream expires leaving a reality of painful truths and soured dreams." Apart from the bored expressions of the models suggestive of the strife of a life in a gilded cage, I was too carried away by the surface loveliness of the presentation to acknowledge or ponder the more noirish thematic connotations that it was alluding to.
The pair met whilst working on menswear and in this collection they embraced the tensions between masculinity and femininity, playing with the symbolism of the patriarchal suit and the frilliness of femininity and added masculine details to embolden the sugary sweetness so oft seen in this collection. The silhouette was surreal, statue-esque and infinitely intriguing and indeed I would agree that they have perfected a more anthropological approach to design than many of their contemporaries. If I met them, I'd like to congratulate them on creating a stunning and innovative collection and also say cheers for the drink, though I might add that they wouldn't need to get me drunk to desire many of the garments. The lust came naturally.