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Visualize something pink. Make it brighter. Throw in some tulle. And then some more. one more time. Continue until the fuchsia in front of you looks like a cupcake. That’s Molly Goddard. Well, not at all. But you get the idea.
Since 2014, the West London resident has made a name for herself for her larger-than-life farts. Countless eye-popping shades, almost always one of the highlights of the season, bring the much-needed wardrobe power to the runway.
Although Goddard has been known since her eponymous debut until her memoir, the designer became a household name thanks to her starring role in 2019’s Killing Eve.
Jodie Comer wore one of Goddard’s candy floss-colored creations in her role as Villanelle, a strangely delusional assassin who spends her days playing cat and mouse with British intelligence officer Eve Polastri (played by Sandra Oh).
It was something to see such a dangerous character in a funky outfit to the beat of sartorial music – and the scene of Comer wearing Goddard’s designs is still going viral on social media.
Goddard’s fame was stratospheric after Beyoncé wore one of her fuchsia creations in her visual album. Black is the king.
Since then, Goddard has continued to push the boundaries of what it means to have fun in fashion. The tulle is crinkled, the skirt is high around the waist.
This season, the brand returned to the Seymour Leisure Centre, where it also showcased its Autumn/Winter 2022 collection – guests memorably entered dry from the British rain, with broken umbrellas in tow, or was that just me. This time, sunny weather was thankfully upon us, meaning the mood was bright inside. In the front row we saw the likes of Laura Bailey, Adwa Aboah, Ramla Ali and Eddie Campbell, Goddard’s close friend who often graced her shows.
The collection is divided into four parts. Each of them presented group models that followed a pattern around the gymnasium before disappearing, making way for the next lot. All revealed on the sounds of his 1980s mix of party hits, including “Once in a Lifetime” by Talking Heads.
The first part of the collection consisted of a palette of cream and navy, with fitted, full-length structured dresses worn over printed jeans and cowboy boots, while sculpted high-waisted dresses were paired with thread-bare cotton T-shirts. A tangerine pop was paired with a pair of black pants with a frayed smock top. Elsewhere there was also dressing, with a single-breasted dusky pink suit making its way down the runway on one of the male models.
Next came polkadots: smoky navy-blue tulle tops with plunging necklines and tutu-like sweaters. Variations were designed in peach and red and this segment saw the introduction of heavy printed fabrics on skirts and sleeveless dresses. In chapter three, we see things through Goddard’s classic kaleidoscopic lens. Endless cotton toys came in lilac and ochre. Cableknit cardigans were pale pink and deep sea blue. And then there were the handbags: square, squishy constructions in red and blue.
But it was the fourth episode that resonated most with Goddard’s signature charm. A full-skirted purple tulle dress was worn under a neon green button-down — we’ve seen a similar look reimagined in burnt orange and highlight pink — and skirts in green, yellow and, of course, striped cords. Rose.
The star of the show, however, was the final look: a gigantic — and utterly pointless — white dress with more layers of tulle than one could count. Imagine the size of Carrie Bradshaw’s famous Milli-Fuel dress. Now triple it.
“I wanted the show to feel like a break from the constant scrolling,” Goddard said in the show notes. “The experience of watching in person is different than watching online – slower, more distorted, more expansive.”
It was this spirit of joy, hope and mischief that we all needed.
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