Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli

Happiness is just a hairflip away.
Chris Crocker


"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford


Matthew Miller

Chatting backstage before his show, designer Matthew Miller offered the phrase "defunct garments". He was speaking to a somewhat abstract idea of "bringing back" clothes, in a styling sense, that were favored by early-era skinheads. In essence : "things just found at a junk sale", layered on and tossed over the body, in a moment that no longer exists. Yet the results were far from junky or unconsidered : Mr Miller presented a mesmerizing collection of men's and womenswear (there are lots of women in the London fashion week, by the way), which struck a deeply resonant chord, one of beautiful failure, of acceptability in individuality -even loneliness- and of a vague yet universal wonder in implosion. It was a massive improvement over last season. Pointing to a logo reading "NEGASONIC TEENAGE WARHEAD", which was printed on tee-shirts and safety-pinned to the back of a black topcoat, Matthew Miller said : "It's a song title from a band in Los Angeles in the Nineties. They totally failed, which I kind of love". He couldn't even remember the group's name (Monster Magnet). That, on top of the suggestive phrasing, set the tone for other moments of introspective melancholy. One look featured a jacket and jeans in what seemed to be bleached denim. The pieces were actually screened with an interpretation of the painting "A study of clouds and trees", by the British romantic artist John Constable, completed in 1821. Matthew Miller picked the artwork as an anchor for this season, because he liked the idea of "solitary cloud-gazing". There was also a fresco of the painting done in the designer's early Eighties council house -another layer of memory and, perhaps, struggle. Those clouds would be reformatted in a rough cotton and linen blend, which he used to craft the best bomber of the season so far, along with pooling, sloppy trousers. A blue-checked motif sprung up on silks; latte-hued knits were layered under jackets, black kimonos fluttered beneath blazers. "It's a play on what the original kind of skinhead aesthetic was", said Mr Miller. "It was quite romantic... it's kind of absolute freedom". And even though he claimed to have depoliticized the collection -he usually has something to say, but opted not to, because "everyone is doing it" -there were still tones, maybe, of disheartened civic observation. See : the pins, which surfaced in droves throughout the lineup. Each one held a real butterfly's wing. That makes you wonder -if it's absolute freedom Matthew Miller is after, might that only exist in... death ? Or, at the very least, permanent separation or distance from it all ? It's not often that you think about these things at a fashion show, but as Q Lazzarus' performance of William Garvey's "Goodbye horses" wailed out during the finale, you couldn't help but revel in the beautiful, pensive darkness.

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