It’s reassuring that Meadham Kirchhoff are inventing their own visual vocabulary, even as their unique aesthetic continues to develop. For fall, they tweaked many elements of previous work: convent-girl-gone-wrong bouclé mini-suits; lace-edged veils; cascades of Edwardian tulle in powder shades; elongated 1970s collars; and kinderwhore accents.
As ever, artistry more than matched concept. These pieces were breathtakingly intricate. In the austere and cavernous setting of the Tate Modern’s Turbine Hall, models slalomed down a runway scattered with gold tinsel and six-foot-high doily-edged lovehearts. This being the last major show of the London collections, sleep-deprived editors were jarred into wakefulness by the sounds of the Spice Girls, Hole, and other 90s girl groups.
This was a collection that felt joyous. In the past, Meadham Kirchhoff have juxtaposed frills and flounces with slasher-film soundtracks, but here the delight in femininity seemed exuberant and unspoiled. Besides, the occasionally dour design duo have good reason to feel pleased with themselves — the froufrou show title Tralala is also the name of their debut perfume, released in association with heritage fragrance house Penhaligon’s.
London has long had a reputation for discovering young talent and it’s good to see that talent being nurtured and solid brands being developed. Unlikely as it may seem, the misfits of Meadham Kirchhoff are making a serious impact on the fashion industry.