However, Lynn’s latest range of women’s wear (titled ‘Wild Boys’ after William Burroughs’s 1971 novel whose plot narrates the actions of a homosexual youth movement hell-bent on the downfall of western civilization) could not have depicted a stronger intention to move away from the insubordination of youth subcultures in a process that questioned the status of the outsider and the insider quite literally through the treatment of fabrics and shapes.
Despite the inclusion of these new tropes in Lynn’s sartorial lexicon, I left the show wishing for a deeper insight into the designer’s intriguing new ‘undoing’ and feeling that a more thorough narrative could have been engendered had deconstructionist principles from thinkers other than Derrida and Gill been considered. For example, an understanding of Jacques Lacan’s psychoanalytical theories of construction and deconstruction of the ego that result from the awareness of the self reflected in a mirror would have certainly enriched the collection’s underpinning concept. In other words, by deconstructing even further the image of the rock chick as a young girl that looks in the mirror and decides to play grown-up lady, the collection would have allowed a glimpse of Lynn’s own philosophical questioning of the social roles that fashion can allow by interpreting garments as constructs of status. And as the girls grow up and the boys become less wild, I have no doubt that Todd Lynn will be able to write even more captivating narratives.