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The collection’s floral elements – a meadow’s worth of wildflowers flutter across billowing dresses and capes – are an ode to the Swedish folk festival that celebrates the gift of the summer. And yes, Griffiths has seen the Florence Pugh film. “I put aside all the sinister, gory bits, but I loved the flowers,” he said. “[That said], there is something a little bit gothic about the collection,” the designer noted, pointing to the inherent darkness of Scandinavian folk tales in which children “get baked in pies, or have their feet cut off, or are shrunk down to the size of a thumb”. The models’ floral coronets – made from paper rather than real foliage (“I think something that goes on the runway has to be a made object”) – were ivory and black, in contrast to Midsommar’s traditional explosion of colour. “They instantly become much more powerful, and less pretty,” Griffiths said. “There is something just a bit moody about the collection, and a tiny allusion to punk, which I think is always a good thing.”
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