The antechamber at the beginning of the Daphne Guinness exhibit is dark and cold. The only light resonates from the spotlight peeking out from the ceiling which illuminates a navy blue Alexander McQueen net cat suit and laser jet, printed cape. Surrounding this spectacular ensemble are an array of unusual, fantastical, artistic constructions which scarcely resemble what we mere mortals often refer to as shoes.
From simply stepping into the antechamber, the viewer can already see that this collection of clothing is not made for an ordinary woman. The shoes alone convey this. These are shoes that would make Ann Taylor scream in outrage at the shear impracticality. However, Daphne Guinness clearly did not collect clothes for the practical reasons of keeping oneself warm and decent. Guinness was an art collector. She dressed to convey to the public who was in the moment, she liked to play a part, to defy convention. Guinness was herself, a piece of art; someone whom one could look at, and see the inspiration, history and heritage of the culture, simply by catching a glimpse of her clothing.
Daphne Guinness was wealthy, a public figure and a staple at parties and events, which is where the ensembles shown in the exhibit were first debuted. The exhibit is split into six separate collections: Armor, Dandy, Chic, Evening Chic, Sparkle and Exoticism. The Armor collection features a variety of clothing that could only be worn by a modern woman. Modern, however, does not mean just any woman living in the modern era because the unfortunate fact is that many woman of today still live with the mindset of yesteryear; the mindset of the meek and submissive. This mindset clearly did not belong to Daphne, these clothes tell the story of a strong independent woman whom, even at her most fragile, was a fighter, someone who could, and would, if the situation called for it, rescue herself. From the brown leather and rhinestone Hogan McLaughlin jumpsuit to the Alexander McQueen bra and harness bustier top, this particular collection is a heart stopping beginning to what is sure to be a revolutionary show. All of the clothes are fantastic; however the one that stands out the most is also the simplest. It is an Alexander McQueen short jacket with a long undercoat and an ivory cotton blouse from the 2003 McQueen shipwreck collection. This is the best outfit because it shows a bit of Daphne’s vulnerability shipwrecked among a sea of strength.
The next collection is Dandy. A menswear inspired look at Daphne’s love of androgyny. The collection includes tuxedoes, suits and punk rock style leggings. The London Punk Shop black and white striped leggings are immediately eye catching, however it is once again McQueen who wins out. A black wool tail coat over a Balenciaga cream silk, chiffon blouse is just the right take on Victorian elegance to once again perfectly describe Daphne. Even in a collection mostly inspired by the past, she brings her own modern sexuality to the table.
The Evening Chic collection was a breath of fresh air after all the punk rock toughness of the last two collections. The understated elegance of Alaia coupled with the class and simplicity of Lagerfield instantly calms the soul, but once again one look manages to break the heart with its intricacy and beauty. It is a Chanel dress and coat made of silver sequins and black silk faille. The character that Daphne was playing that night is instantly clear and the looker is transported to a time and place where a woman in a beaded dress enters a room in Manhattan the early 2000’s but at the same time thrills the attendees at a speakeasy in Harlem.
The just plain Chic collection is an exercise in youth and calculated adult cool. A Chanel jacket made of black and white wool, fur and stones add a subtle sex appeal to a classic look. The Chic collection is inspired by Guinness’ mother and grandmother, but not one look in the collection is old fashioned. From the Rick Owens ivory silk pants to the Chiffon Valentino kerchief blouse, each classic adult look contains a hint of the child within Daphne Guinness.
The Sparkle Collection is an absolute masterpiece. Like the Armor collection, it is an exercise in the bizarre. The eye can’t seem to make a decision. Which to take in first? The feathered McQueen dress and jacket combo? The Christian Lacroix marabou trimmed sequined frock? No, the one look that keeps the eyes firmly glued is an extravagant Alexander McQueen jump suit made from gold and bronze bugle beads coupled with a magnificent black feathered cape. This was worn by a woman who commanded every single pair of eyes in a room. And enjoyed it.
The collection ends with Exoticism, and oh but the finale is grand indeed. A black lace and feathered Valentino, a white sheared and fur McQueen. However, I surprise myself by being drawn to possibly the most subtle in this particular collection. It is by a designer called Jun Takahashi and it is exquisite. It is called a Skull coat, made of black wool felt from the Japan 2009 collection. It is simple but with a hint of exoticism. Classy but with an original rock and roll edge. It trumpets what each collection has been whispering about Daphne Guinness all along. Nobody is like her, because with Daphne, nothing is ever how it seems.
