Imagine something pink. Brighten. Put the tulle. And some more. Also. Continue until the one in front of you looks like a fuchsia-like cupcake. Molly Goddard. Ok, it’s not. But you get the idea.

Since 2014, the West London native has made a name for herself with her voluminous, larger-than-life frocks. She’s appeared in a myriad of eye-popping shades and most of the time she’s one of the highlights of the season, bringing the dress-up her box energy needed to the runway.

Goddard has been a household name ever since the birth of the eponymous brand, but it was thanks to her starring role in 2019’s Killing Eve that the designer became a household name.

Jodie Comer, in the role of Villanelle, a strangely seductive assassin who spends the show playing cat and mouse with British intelligence officer Eve Polastri (played by Sandra Oh), in Goddard’s cotton candy-coloured production He is famous for wearing one of the

A still of the scene in which Comer wore a Goddard design went viral on social media.

Goddard’s reputation went stratospheric after Beyoncé wore one of Fuchsia’s creations on her visual album black is king.

Since then, Goddard has continued to push the boundaries of fashion enjoyment. The tulle became crunchier and the circumference of the skirt taller.

This season, the brand returned to the Seymour Leisure Center to showcase its Fall/Winter 2022 collection. Maybe the guests were soaking wet from the UK rain, pulling a broken umbrella, or maybe it was just me. This time, thankfully, we were blessed with a sunny climate, and the room was completely bright. In the front row we saw Laura Bailey, Adwoa Aboah, Ramla Ali, Goddard’s best friend and regular model on her show, Eddie Campbell, among others.

The collection was divided into four parts. Each featured a group of models following a pattern around a gymnasium, all disappearing to make way for the next lot. It all revolved around the sound of classic 1980s party hits.

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The first part of the collection consists of a cream and navy palette, with strapless full-skirted structured dresses worn over printed jeans and cowboy boots, and sculptural high-waisted skirts in threadless cotton. Paired with a t-shirt. A ruffled smock top with a pop of tangerine and offset with black tailored trousers. One of the male models was in a single-breasted drab pink suit making its way down the runway, with tailoring elsewhere.

Next came the polka dot pattern. A collared navy blue tulle her top and a ruffled smock that looks like a tutu. Variations were designed in peach and red, but this section introduced heavy printed fabrics on skirts and sleeveless dresses. A cotton smock with endless frills at the hem had lilac and ocher. Cable-knit cardigans were pale pink and deep-sea blue. And then there was the handbag. Crimson and blue rectangular frill structure.

But it was the fourth section that I felt most suited Goddard’s signature aesthetic: A full-skirted purple tulle dress was worn underneath a neon green button-down top. The same look is reimagined in Burnt Orange and Highlighter Pink. Also green, yellow and, of course, pink.

But the star of the show was the final look. A huge, utterly pointless white gown with countless layers of tulle. Carrie Bradshaw’s famous Millefeuille Imagine the size of her dress. This is 3 times.

“I wanted the staging of the show to feel like a break from the relentless scrolling,” Goddard said in the show notes. and more spacious.”

It was this spirit of joy, optimism, and confusion that we all needed.