avant-garde

These two dresses reveal Ann Lowe's extraordinary range across four decades of couture, from the cream silk taffeta's cascading tiers of ruffles that anticipate Jacqueline Kennedy's wedding gown to the charcoal chiffon's knife-sharp pleats punctuated by her signature silk roses.

These two pieces trace the evolution of deconstructivist fashion's obsession with turning the body into a site of architectural experiment. The earlier trousers with their detachable apron-like flap and utilitarian snaps suggest a kind of industrial pragmatism—clothing as modular system—while the later draped bodysuit with its strategic cutouts and zip closures pushes that same logic toward something more theatrical and body-conscious.

These two shawls reveal how the Victorian obsession with Kashmir paisley evolved from maximalist spectacle to refined restraint. The earlier red shawl drowns in dense, interlocking paisleys that carpet every inch of silk and wool—a textile fever dream where more was always more. The later cream stole pulls back, letting individual paisley motifs breathe against open ground, each teardrop shape now a considered accent rather than part of an all-consuming pattern army.

These two 1950s Hong Kong qipaos capture the precise moment when traditional Chinese dress absorbed Christian Dior's New Look, trading the loose fit of classical cheongsams for body-conscious Western tailoring.