Pinghe had cited “creating peace” as the ambition behind this collection. “The world is blurred in my eyes”, she explains, “I want to slow things down”. As soft bongo drums built anticipation amongst the audience, the halted movement pushed the boundaries of laborious pace. Models emerged in bouffant lace bras and transparent PVC skirts, a brave showcase of the spectacular female form. The stunted movement permitted the sheer opulence of Pinghe’s collection to be wholly absorbed making for the peaceful experience she set out to achieve. 

“The girl behind this collection is an individual, original and not afraid to be herself”, mused PingHe. PVC and leather pieces carried the authoritarianism of a dominatrix whilst feminine shapes in regal reds and palatial golds were fitting for a princess. Models were ethereal with dewy skin and alluring eyes in shimmering antique golds. Hair was voluminous and rolled under backcombed beehives reminiscent of the Victorian era.

Texture was pivotal in the execution of this collection. PingHe blurred the concepts of shape and texture in order to harness the ever moving pace of modern life. Lavish mongolian furs sumptuously contrasted with fitted leather shift dresses, whilst grandiose ‘PingHe’ panelling embroided in camoflage sequin detailing lent the designs an aura of stature. Knitwear was oversized and exaggerated in shape, juxtaposing form and structure when worn over elegantly structured peplum skirts. The looks were softened by hightop shoes which introduced everyday urbanity and individualism to the collection. 

By Lydia Smyth, (@LydiaRoseSmyth)
Images by Hannah McGee (@HannahMcG3e)


Comment