Molly Goddard On Taking A Break From Her Voluminous Pink Dresses

Molly Goddard, whose name should be prefixed with “quite possibly the nicest woman in fashion”, is on the phone apologising profusely. She’s just arrived back in her Bethnal Green studio after taking her parents to New York to see the Met Costume Institution’s Camp: Notes on Fashion exhibition, in which Goddard has two dresses. But the jet lag has made her come over all discombobulated.

“My brain has gone to mush,” she laughs as she talks Vogue through her autumn/winter 2019 campaign, which is a collaboration with her sister Alice Goddard, who helps cast and style her shows, and Alice’s partner Theo Sion, a photographer who compiles the music scores that best represent the collection. It’s not just adjusting to the time difference, however. Goddard is stumbling over her words because she doesn’t want to speak on behalf of her fellow creatives. “I let them go with an idea and do whatever that they want to do for the campaign,” she explains. “It’s nice to have another point of view to freshen up my original thoughts.”

Every season, the trio regroups after the presentation and ruminates on how to present the garments in a different way. “It’s an opportunity to play around,” says Goddard. “We either push it to the extreme of what the show could have been, or we pull it back to something a little bit more restrained.” To juxtapose the autumn/winter 2019 setting in the marbled inner sanctum of the Foreign Office’s Durbar Court, the team decided to shoot on the street. “My studio is the backdrop, but the road is quite nondescript and shitty,” she says. “It could be anywhere in the world, which is really what we wanted.”