Goddard’s perfect recipe includes Vivaldi, frilled dresses and platform boots

When I looked at Molly Goddard’s latest collection, I was instantly reminded of Sofia Coppola’s Marie Antoinette. I mention such analogy not because I find in Goddard’s silhouettes the structure of XVIII century gowns, but because her show displays the same dichotomy past/present that pervades Coppola’s masterpiece.

Vivaldi’s Winter, soundtrack that introduces the designer’s pieces, is so deeply revolutionized it took me a few seconds before I went “oooh right, got it”, but it just makes perfect sense. Everything makes perfect sense. The signature taffeta, colorful, frilled dresses of Viktor-&-Rolfesque ancestry paired with golden platform boots? Trust me, they make sense. Striped scarfs on top of tartan kilts - produced by a Scottish factory - and tartan tights? They work, go give a look.

Amid the princely asymmetric frocks, tailored taffeta dresses make their appearance - some of which adorned with bows - enriching the variety of the cuts and volumes of Goddard’s designs.

One of the most mesmerizing touches of the runway? The total red of the make-up. Apart from the only male model, the girls flaunt crescent-shaped strokes of blush, crimson eyeshadow and red lipstick. Do you guys remember Rihanna’s make-up at Met Gala 2017 (how can you NOT remember that show stopper?!)? Well, here that look is deeper, stronger, more intense.

Molly Goddard’s collection gave me that same sense of alienation that I got when I saw that pair of lilac Converse behind Marie Antoinette’s Louis heels. You know they shouldn’t be there, yet they look so absolutely necessary for the scene. It perfectly works. It just does.