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Two of the designers I find myself thinking about the most are Edward Meadham and Benjamin Kirchhoff. Their show last Tuesday ended London Fashion Week, for me at least, and heading into Milan, seated in plush showrooms and watching so much money and so many tired ideas swan by so pointlessly, it was something that niggled at the back of my mind.
Plenty of people – including, for a time, me – hated their spring/summer show. Which was precisely the point. I remembered that old adage from the late seventies, “punks just want to be hated”. Meadham Kirchhoff, contrary to just about every other label in the fashion world, don’t care if you buy their clothes. They don’t even care if you like them.
That is profoundly refreshing in a season where so many designers seem to be so desperately grabbing after the almighty dollar (or pound, euro or yen) with fervid, fevered intensity. Forget themes! Throw everything down the catwalk! Then someone somewhere might buy something! That’s the way designers are thinking.
Maybe it’s not designers. Maybe it’s the big conglomerates ruling it that are to blame. Or maybe it’s the actual consumers. Look at Saint Laurent — whose profits were up 29% in the
second quarter of 2014.
They have continually risen over the past few seasons, since Hedi Slimane was installed as creative director at the label and began to show collections that eschewed themes, focus and progressive design, in favour of singular pieces thrown together with wild abandon and little consideration.
They work on a rail. On a catwalk, Saint Laurent clothes represent nothing beyond an empty, soulless ode to avarice at its most base.
Meadham Kirchhoff are the polar opposite. Which is why, even when their collection is a two-fingered salute to the fashion industry, you cannot help but applaud them. Their passion and their design is real, raw and original. They question, they provoke.
Meadham Kirchhoff is one of the labels that provide show notes dissecting and deciphering their collections on every seat at their show. Kind of. But as opposed to the helpful, hyperbolic, drivel-filled A4 sheets you receive from many a designer, we got something approximating a fashion equivalent to Sniffin’ Glue. A phrase hand-scrawled on the back said it all: “corporate fashion sucks shit.”
What is anti-corporate fashion, then? Simply put, it’s punk. But punk in ethos more than look. There was nothing punk, for instance, about a pair of filmy point d’esprit dresses trimmed in ruffles, nor the ruched tulle lingerie that Meadham and Kirchoff exposed, suspenders worn on the outside of trousers (for him) or by itself, like punk poster-girl Jordan, atop a latex pencil-skirt with zips scarring the rear.
That was pretty punk, obviously. There was plenty of latex, in rubber Johnny shades of pissy yellow or spanked-flesh pink. It was shredded into oversized swaggering coats as well as the gimp-taut skirts. The frisson of outrage provoked by the “rubberwear for the office” offerings of Malcolm McLaren and Vivienne Westwood’s 1970s boutiques SEX and Seditionaries has been dulled through time (we’ve had rubber at Dior haute couture, after all). Elsewhere, a male model wore transparent shorts like French knickers, his genitalia clearly visible. There was a visible intake of breath. Some of the most simple things never lose their power to shock.
I kept poring over that hand-made, heavily-scented and provocative pamphlet. I still am. As with the collection, it was small but intense, deep, multi-layered. It surrendered a lot. “It would be retarded of me not to acknowledge the obvious and undeniable influence that Dame Vivienne Westwood has had over this collection,” read one fragment of text on the back. “Forever indebted to your genius.”
There was plenty of Westwood in this — a few visual parallels, but rather a quest for new ideas and a refusal to conform. The title they gave to the collection was “Reject Everything”. Meadham Kirchhoff never do things by halves.
Westwood’s memoir is yet to come out (you only have to wait until October though), but Jane Mulvagh’s excellent 1998 biography, subtitled An Unfashionable Life, offers a voyeuristic peek into her creative process.
According to Mulvagh, in the seventies Westwood spent three days deconstructing a t-shirt to its most basic components. Eschewing sleeves and roughly sewing seams on the inside-out, it was a reconsideration of a style many thought set-in-stone, sacrosanct and never-to-be-challenged.
We don’t get that much in fashion, those attempt, fruitless or otherwise, to reinvent the wheel. Most people are content just to make a nice pair of trousers. Nothing deeper.
In Meadham Kirchhoff’s case, the wheel to be invented was that much-fetishised aesthetic that has become inextricably linked with the duo. Their last show, with its neat boucle suits, filmy chiffon dresses dipped in lace, and perfume-based backdrop, felt like a consolidation of what their label has come to stand for. It was an end.
This collection was a beginning, a birth. There’s some kind of analogy with the used tampons dangling from the trees that formed the mise-en-scène (never has a term felt more misplaced) around which the models marched.
As with any birth, it was messy, and a little painful at times. But ultimately worth it. Because what Meadham Kirchhoff bring to the table are ideas — a flood of them, good and bad, all worthy of attention. In seeing them reject their own work so thoroughly and embrace something new, you do nothing but applaud. It was brave, and bold.
I’m reminded of one of the epithets that Westwood and McLaren used to scrawl on their Seditionaries garments: “Clothes for Heroes.” These are, too.
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