Words/Images: Theo Thompson
Pam Hogg’s latest collection, Of Gods and Monsters, is a striking homage to both beauty and destruction. Known for her rebellious spirit and avant-garde designs, Hogg, the self-taught Scottish fashion icon, has once again made a bold statement. Unveiled at London Fashion Week, this collection tackles the complex and harrowing realities of the Palestinian conflict, exposing the injustices of war while showcasing Hogg’s trademark flamboyance and fearless creativity.
Hogg, whose work has long been a mirror to society, explores a profound juxtaposition in this collection. The models, draped in lavish velvets, shimmering pearls and extravagant headpieces, wore garments bound with belt buckles and safety pins. The tension between glamour and rawness was palpable—an embodiment of how displacement and disruption can affect anyone, regardless of status. Her designs reflect both the physical and mental burden of conflict, as seen in the towering headpieces ‘possibly’ representing the weight of war.
Her showstopper, named Palestine Home, encapsulated this duality with striking clarity. The model wore a regal headpiece, embellished with delicate 18th-century miniature portraits, while a worn luggage trunk was fastened to her back. This stark contrast between the lavish crown and the humble soft toys tethered to the trunk evoked the shared experience of war and the fragile concept of home. The piece poignantly symbolises the precariousness faced by those uprooted by conflict.
For me, however, the standout piece of the show was The Ancestral Plain. I found myself returning to it repeatedly, each time uncovering new layers of meaning. Its addictive pull came from the intricate details; a bed of carcass’, a headpiece littered with bones bound on by safety pins laid on the head of a blindfolded mannequin, all evoking themes of loss and obscured truth. The ram-like horns placed at the feet added an almost mythological presence, while the juxtaposition of turquoise blue arms against beige, created a tension that was as unsettling as it was captivating. At one perfect moment, the light hit only the blue fabric, cutting off sharply at the belt buckle. A fleeting moment of beauty amidst the chaos.
Hogg, whose accolades range from the Newbury Medal of Distinction to an Honorary Doctorate from the University of Glasgow, has always been a boundary-pushing force in fashion. Her collections have graced iconic institutions with likes of the Victoria & Albert Museum, cementing her place as one of Britain’s most provocative designers. As Terry Wogan once said, “Pam Hogg is a designer of cult status,” and Of Gods and Monsters only furthers this legacy.
In this collection, Hogg sought not only to challenge mainstream fashion but to spotlight the plight of Palestine, expressing that war spares no one. Her designs, both splendid and raw, strip away complacency and force us to confront the harsh realities of war. By marrying beauty with disruption, she reminds us that art and expression are not just reflections of society—they can drive change. In a world where conflict often goes unnoticed, perhaps it’s through fashion that the urgency of these crises, like the Palestinian conflict, can be truly seen. Hogg’s work personifies defiance and resilience, proving that creativity can be a profound voice for justice.
