Just a few days before Greta Constantine designer Kirk Pickersgill debuted his new resort collection, he attended a gala for the National Ballet of Canada in Toronto. It was there that he was struck by the sheer number of women he spotted wearing his evening gowns. “It was a huge compliment,” he said. The fact that his designs were thriving in such a formal environment was no coincidence, of course. For resort, Pickersgill continued the label’s focus on opulent evening attire. “I just watched [the gala], and I wanted the clothes to be regal and ultra feminine,” he said of the new line. “I wanted the clothes to scream.”
Pickersgill’s new ball gowns were certainly gala-worthy. The designs ranged from simple and elegant to bold and maximal: they were most successful when restraint was exercised. His LBDs this season were black cinched-waist gowns with floral appliqués and bows at the shoulder. A clean, high-neck satin-pink gown had a flowing bow along the back—talk about a dress that makes an exit. Pickersgill was inspired by his mother for such refined looks. “She’s a very stylish woman, but she’s not somebody that’s over the top,” he said.
The more extroverted silhouettes, meanwhile, put emphasis on material accents like beadwork and ruffles—two Greta Constantine signatures. A black halter-style gown had golden floral beadwork along it, and was totally sheer (it was paired with a black slip underneath). A magenta, caftan-like dress in silk-faille had giant ruffling along the hemline, and was paired with matching trousers. It might seem excessive, but Pickersgill said his customers always dress to be noticed. “I started with a small ruffle, and then two-inch ruffles turned into 15-inch ruffles,” says Pickersgill. “For me, it’s like, ‘Go big or go home.’
