Pam Hogg declares her LFW collection to be her ‘best work yet’
The Scottish designer explores the Palestinian conflict through opulent fabrics and deconstructed garments.
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US News Reporter
Pam Hogg’s latest London Fashion Week collection focuses on the injustices of the Palestinian conflict. The Scottish designer has called the collection her “best work yet”.
Entitled Of Gods And Monsters, Hogg’s newest collection comprises opulent headpieces, luxurious velvets, buckled belts and animal bones.
Hogg, who refuses to publicly disclose her age, is known for her political, punkish and avant-garde work, and has dressed the likes of Lady Gaga, Naomi Campbell and Debbie Harry of Blondie.
Her work has been likened to contemporaries such as Vivienne Westwood, who also took inspiration from the 80s punk aesthetic that rejected the mainstream fashion industry.
Launching her namesake label in 1981, her collections are flamboyant and fearless, and perhaps even more potent today as she holds a mirror up to society through her disordered and disrupted designs.
Hogg’s 2024 LFW collection blended coquettish opulence with raw offcuts. Ensembles featured models dripping in pearls whilst their clothes were bound together with belt buckles and fastened with safety pins.
The barely constructed garments were intended to represent the instability and uncertainty of war. Many pieces left the models exposed and vulnerable.
The designer wished to portray the injustices of the Palestinian conflict, with each model carrying a colossal headpiece, to represent both the physical and mental burden of war.
Hogg’s focal piece, entitled Palestinian Home, featured a Marie Antoinette-inspired headpiece, adorned with 18th century miniature portraits, a blush trim, and gold encrusted hanging fruit.
The opulence juxtaposed with the luggage trunk on the model’s bag brought to surface the fact war, displacement and disruption can happen to anyone – regardless of social rank.
Many ensembles were fashioned out of bulbous rubbish bag-like silhouettes, bound together with rope and discarded materials.
Throughout the models wore blindfold – perhaps Hogg’s commentary of society’s willingness to turn a blind eye.
The collection was still quintessentially Hogg with platform leather boots and grunge midi-skirts.
The garments shed a light on the turmoil and injustices people across the world are facing. It’s juxtaposing of ribbons and ropes illustrated the impact of war on everyone, regardless of social status.