The show was held in her east London atelier
After staging her last show in the sporty environs of Seymour Leisure Centre, this season Goddard opted for the more intimate setting of her east London atelier. “We’re based in an incredible building that used to be an old umbrella factory and Wolfgang Tillmans’s studio, but we’ve slowly taken over in the last few years,” she says. “It’s the perfect location to present this collection – I wanted to rein it in, and to keep everything at its most honest.”
It was all about simplicity
The clothes were a celebration of Goddard’s signatures, but in a stripped-back way – from Aran and Fair Isle knit separates in navy and grey, to low-slung cotton dresses in mauve. “The silhouettes are more pared-back than usual,” explains the designer. “I wanted the focus to be on the fabrics and the details we’ve worked on, without any unnecessary drama or optics – just the pure joy of clothes.”
There was tulle, but not as you know it
Goddard, who is renowned for her use of voluminous tulle, chose to continue utilising it but in a restrained manner. The designer toned down her use of her favourite fabric by realising it in demure, A-line silhouettes. Models wore leopard-print tulle skirts and strapless dresses, or maxi skirts in white, yellow and crimson.
Platforms stomped down the runway
Goddard has form for creating a viral footwear moment (the Ugg collaboration from spring/summer 2021 springs to mind), and this season presented a contemporary platform shoe that had the fashion crowd swooning. The pumped-up Mary-Janes appeared in black, white and a perfect pale yellow shade.
The brand’s closest collaborators were on the front row
The designer decided to invite a small number of guests rather than the usual swarm of celebrities and influencers that descend on London shows. This time, the front row was made up of influential fashion industry figures, stylists, and close friends and collaborators of the brand.
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