Australian Alexandra Hackett’s Studio ALCH, new to a London schedule, was all about a grub of a daily commute, desirous by a “daily tracks” we contest on and exploring a judgment of rival travelling in garments that hover a line between infrequent and activewear.
Pockets, and lots of them, were a large thesis here. To answer a need, pronounced Hackett, to revoke rubbish on pre- or post-work trips to a supermarket. One span of women’s glossy nylon lane pants, ragged with a nice, cropped black-and-white lane top, had dual prolonged pockets on any leg, large adequate to squirrel divided a bottle of booze in each. Handy.
There were some good varsity jackets in a mix. One in a patchwork of opposite black fabrics, another hoodie came in a crinkly china fabric. The pared-back palette of gray, white and black was perked adult by pops of reserve orange, that looked good in an garb featuring a ALCH trademark blown adult to macro proportions.
What it lacked in textural accumulation in fabrics it done adult for in prints, desirous by things like manhole covers seen on a daily commute. The chevron settlement seen in antislip surfacing on stairs translated easily onto knitwear, as did a heart-shaped interpretation of a British Standards trademark (seen on only about each potion window and showering shade here), that came printed in white on a gray sweatshirt surrounded by small mauve triangles, ragged with elementary black trousers and Nike trainers.