In his programme notes, Roland Mouret wrote something sensible: “I have tried to be true to myself, to make an honest collection with the clothes themselves as text, as narration, as a story of my life and travels. I after all much like the women I dress.”
So clothes for the reality of stepping off to work in a dress with a flaring skirt or a pinafore shape that could be worn over a transparent top at night — always with the zipper down the back as the designer’s signature.
By day, the texture message was complex, with a tapestry effect of geometric patchwork quilting — a hyper-sophisticated interpretation of folklore.
Knitwear even displayed patterns inspired by the individual stitches used by fishermen’s wives to identify their husbands. Without these extra dimensions of artistry, the daywear, with its repetitive short skirts, would have seemed very same-y.
Once again, there was no reference to the ‘Galaxy’ dress that brought Roland to stardom a decade ago next year. I wish that the designer would feel the urge to re-visit his invention and all it stood for: a glorious Silver Screen past; a modern feminist look; and a galaxy of glamour.
As it was, I saw a perfectly OK collection in signature Mouret colours: red, from scarlet to wine; and dark shades with touches of yellow.