The packed backdrop of electronic cigarettes, eclectic personas and fallen elitist grandeur of Freemasons hall could not have been more appropriate for the Pam Hogg A/W ’14 catwalk show. Firmly political in nature, the collection retained all the usual flare of Hogg’s well established visual repertoire. The first model came thundering down whilst brandishing a protest sign firmly dedicating the entire collection to Pussy Riot. It was apparent that the electric colours which wrapped themselves around pom-pom adorned models were a direct response to the current hotbed of issues surrounding the Winter Olympics in Russia (the closing track screamed ‘Disco in Moscow’ on repeat). In any case, subversion was the dominating theme of the collection; favouring a palette of gold, turquoise, pink, green and silver that managed to successfully tread the thin line between enjoyably attention grabbing and headache-inducing stress, drawing attention to the use of male models in drag and fuller-figured female models. Hogg gave us genderless warriors who embraced the theatricality of her designs, sketching an imagined future where body-suit clad individuals would be judged more as creatures of individual persona than by race, gender or sexual orientation. The incredible attention to the mechanisms of the human form in movement was only to be expected from the statement designer; the patterns were streamlined to perfection, barely covering the models’ decency at times in order to comment upon the ridiculous notion of the hyper-sexualising of the female form. This idea came to full fruition when the finale of bridal ware was launched down the runway with all the subtlety of a firing a machine gun during a knife-fight. Exaggerated bonnets crowned the faux virginal white designs that implied so much innocence through a re-appropriation of 19th century cuts, then suddenly torn down by the effective use of nudity to reveal the use of sexuality as a weapon in the power-play of conventional historical marriage. The statement that innocence is merely a façade was incredibly powerful, enough so to make one wonder if claims of ‘innocence’ or ‘not realising’ are ever excuses for the abuse of human rights. It was rare to witness a collection that had such thought-provoking tendrils seeping into debates of ethics; even rarer to witness one where that instigated heated conversation did not overshadow the merits of the designs themselves.
Designer & Brand Info: Pam Hogg
PR Team: Pop PR
Article by Alex Moss
Photography by Alan Christopher Parker
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