Liam Hodges falls down the Y2K rab­bit hole

The collection looked to an early internet aesthetic to take us firmly into the future.

WHAT WAS THE SET LIKE?

This sea­son, Liam Hodges trans­lat­ed his psy­che­del­ic, chopped and screwed sig­na­tures into art, as set design­er Louis Gib­son teamed up with the artist Alfie Kun­gu to cre­ate bul­bous, hand-craft­ed sculp­tures. At the rear of the stage was a stylised but­ter­fly that echoed the work of Niki de Saint Phalle, while mod­els weaved in and out of giant flow­ers in pri­ma­ry colours that were lit­tered up and down the run­way, hyp­not­i­cal­ly chore­o­graphed by move­ment direc­tor Ryan Chap­pell. It was yet anoth­er exam­ple of the more upbeat take on men’s dress­ing that has coloured the sea­son so far. 

WHAT WERE THE REFERENCES?

It seemed that Hodges had been spend­ing some time look­ing at the ear­ly inter­net aes­thet­ic of 90s rave fly­ers for graph­ic inspi­ra­tion. A Möbius strip of dig­i­tal­ly ren­dered grids came with the slo­gan the future keeps com­ing”, while a series of t-shirts came out with fun­nels that spelt melt­down”. There was also a hood­ie that spelt out the Liam Hodges name over and over in some­thing that resem­bled inter­net source codes: was Hodges look­ing back to his ear­ly inspi­ra­tions at the label to find a new way of tak­ing us into the future?

WHAT WAS THE HIGHLIGHT

A series of looks in light pas­tels towards the end of the show bal­anced the pre­vi­ous dig­i­tal­ly-inspired chaos with some­thing a lit­tle sweet­er. We’ve got our eye on a West­ern-style jack­et in white that was print­ed with stylised pink pop­pies and washed out paint­brush strokes in black and sky blue. A spring­time walk in the park, but make it fashion. 

WHAT ABOUT HAIR AND MAKE-UP?

In keep­ing with Hodges’ sur­re­al­is­tic out­look, the hair and make-up were bril­liant­ly off the wall. Rock­a­bil­ly up-dos were craft­ed to stand up to almost a foot high (with the help of lib­er­al amounts of hair­spray, we imag­ine) while one mod­el came out with a head cov­ered in Lib­er­ty spikes in a sludgy green, in anoth­er nod to the collection’s cyber­punk spir­it. The best looks, how­ev­er, were the mod­els who had their faces tied up with string and sel­l­otape, warp­ing their facial fea­tures like glitch­ing dig­i­tal images. Next sum­mer, it seems Hodges wants you all tied up.


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