Andrew Gn attracts the type of woman who appreciates visible workmanship, overall polish, and a soupçon of surprise. Although actress ingénues sometimes pick his photogenic gowns for the red carpet, his consistent supporters skew more mature. With this in mind, you understand how Gn’s choice of source material and inspiration—Les Incroyables et Merveilleuses (simply put, a flamboyant, proto-youthquake during the Directoire period of the French Revolution) along with punk codes—was rebellious in its own right. One counter-culture reference would have been shake-up enough, let alone two. But Gn pointed out how these aspects of individual expression were as timeless as the pursuit of beauty.
Cue a collection of unexpected creations typified by a dress that married a black lace bodice with a pastel blue full skirt scattered with floral embroidery; or a court coat bordered in pastoral flora paired with a white ruffled-neck blouse and black breeches outlined in metal rivets. The success of this double culture clash was often determined by whether the elements screamed loud or spoke sotto voce. An all-white ensemble in patchwork lace possessed a light historical influence, with a discreet metal zip setting off its pureness. The way Gn used eyelet lace as fringe on a black miniskirt already covered in 3D organza flowers was a brilliant haute punk hack. Conversely, the nuance was lost when dresses that already stood out for their expanses of fine floral threadwork were styled with spiked belts and chain chokers.
If Gn found the originality that he was seeking in the Directoire-inspired denim grouping— hand-fringed passementerie; the apex of deliberate distressing—it will be interesting to see how women respond. Someone may find endless ways to enjoy the kick-flare skirt and fitted jacket by never wearing them as a total look, whereas a studded bibbed sweater revealed the novelty of forcing opposites to attract. On balance, though, Gn’s establishment tastes and floral fantasies benefited from an anti-establishment frisson. “Today, there’s no such thing as absolute beauty; there needs to be something off about it,” said the designer, articulating this latest exercise perfectly.
