Josh Goot

LONDON, September 19, 2008
By Sarah Mower
Emerald, violet, pink, aqua, pea green, yellow—the multihued slick of color that opened Josh Goot's show started life as watercolor paints sloshed onto a flat-bed scanner. "Then we manipulated the images on the computer so they twisted and contorted like water," the designer explained. That high-tech, semi-scientific visual filtration of natural phenomena is a fascination Goot has (coincidentally) shared with Louise Goldin and Peter Pilotto this week. In Goot's case, the liquid prints undulated vividly down the length of sporty stretch-georgette tank dresses and set the color codes for all the single-hued pieces that followed.

The effect had a refreshing energy about it: pragmatic modernism dealt out in color-blocked jersey layerings of tees, sinuous skirts, and capes, or dresses with a graphic simplicity (the best of those came later: a half-black, half-nude toga elegantly cut from two squares). The show would have benefited from some condensing, but still, it left a bright and optimistic impression on the London audience. Goot is a young Australian who has chosen to show in Britain for the first time, but his sensibility, particularly this season, fits right into the local scene.

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