Betty Jackson feels optimistic - about her whimsical mish-mash of prints, the economy, that sort of thing - but she made sure to insert a bit of darkness into her show this morning. She said in our backstage chat that she wanted to bring out Tim Burton's 'darker surrealism', and with looks like this one on Tanya D, it seems she accomplished the goal.
On a brighter side, the audience seemed to take well to her turquoise and cocoa and rose-coloured prints, especially a tribal-influence moire, and this all-over number.
Ladylike details showed up on solid-coloured looks, with some of Jackson's most popular go-tos being the shawl, natural-waist belt and peplum waist. In dove grey and fawn brown, the designer even pulled off 100-percent mohair dresses. One of the most interesting pieces kept Jourdan Dunn's back bare (between a shawl top and skirt) save for a black exposed zip. Not so warm, is it Betty?
Accessories, provided by Alexis Bittar, came in the form of handcarved, handpainted lucite earrings and necklaces. To cover bare legs, Jackson often used white ribbed, ankle-length leggings.
The most popular word I heard to describe Jackson's collection was 'gorgeous', but I give it my commendation with one caveat: that beautiful-but-tricky pieces are kept in the right hands. The first look below, even with its bold construction and use of print, could go straight in an editorial, and the brown velvet number (very Edge of Love, says Naomi) just needs to be kept away from 'sensible walking shoes'.
What does Betty Jackson have left to do after pulling off a strong show in the tent? Not much, if it's up to her. "We've been up for three days on the trot," she says. "I've been invited to loads of things, but I might just go have a glass of champagne and then decide."
She was kind enough to pose for a snap before having the glass of bubbly - so check our matching oversized blazers and then give the woman a toast.