Conner Ives

For his second runway, Ives used the ensemble structure of Paul Thomas Anderson’s Magnolia to create a more mature group of women whose stories intersected without collapsing into one heroine. References moved from Nan Kempner and Lady Miss Kier to the exercise figure Green Goddess, while the collection revisited the designer’s childhood discovery of runway fashion in the late 1990s and early 2000s.

Between 60 and 75 per cent of the season was described by Ives as second-hand vintage. Bulbous trapeze coats, riding hats, platform Mary Janes, scarf construction and reconstructed jersey placed fashion-history quotation beside lived material, demonstrating a more controlled balance between demi-couture singularity and the needs of a growing wholesale line.