As we waited for the Tiger of Sweden show to start, we were graced by the elegance of dramatic Baroque music. The house lights dimmed and were replaced by neon strip-lighting gradually building what came to be the Nicodemus Tessin the Younger’s ornate architecture of Sweden’s royal palace, Kungliga Slottet.
As the first model walked out from between the arches, a rumble of guttural base that I could feel in my soul (I think that’s what was vibrating) kicked in, along with harsh flashing lights that blinded my senses. Once I got to grips with where I was (Versailles? Stockholm? A warehouse rave in Manchester?), the decadent SS17 collection stunned as much as the strobes. 17th Century opulence was restrained by the Swedish structure of the pieces and given a brutal revamp, as the designs played with streetwear - bomber jackets, oversized hooded windbreakers and wide shorts were adorned with damask fabrics and tapestry prints. Chic suits were paired with trainers, and baroque-print tunics worn with pulled up white socks.
The minimal, tailored Scandinavian roots provided the sharp cuts that Tiger of Sweden does so wonderfully time and time again, but the brand’s temporal awareness gave the collection both a historical and contemporary direction to create a cross-cultural, cross-class, collaborative masterpiece. It was attitude. It was ambitious. It was powerful. Leaving the space back into the dull white cloud of the London streets, I missed the atmosphere instantly -how much are tickets to the urban 1600's?
Words by Jonny Clowes.
Photography by Maud Maillard.