Josh Goot (Q4861)
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Josh Goot is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Josh Goot |
Josh Goot is a fashion house from FMD. |
Statements
You can take the boy out of Sydney, but you can’t take Sydney out of the boy.Josh Goothas relocated to New York from Australia, but he still sports his Tevas everywhere he goes, even in chilly Paris, where he showed his new Spring collection.Goot’s model wears athletic Teva-style sandals with color-coordinated kneesocks in his new lookbook, and they give the lineup a stylized streetwise vibe. It’s a note he further accentuated by layering oversize tees on top of crisp button-downs and pairing boxy coats with nothing but a knit bodysuit. Take it apart, though, and what Goot has served up is, for the most part, a collection of not-quite-basic basics. In a season of multiple riffs on men’s cotton shirts, his come collarless and deeply cuffed or bibbed. Shirtdresses have undefined waists and extend nearly to the ankles. His suiting (nice in a faded-denim blue) is similarly man-size, but turn the jacket around and there’s a cutaway back. So, masculine and feminine. The femme part of the story was rounded out by ribbed mélange knits and finer-gauge pieces with a bit of cling. Graphic, pieced-together slip dresses inspired by the morphology of butterfly wings were the most technically challenging element of the lineup.Goot says he’ll be ready to present his collection in his adopted hometown next September.
10 October 2016
After a decade in business, some designers might be tempted to fall back on their bestsellers and “greatest hits” rather than rock the boat. Not so forJosh Goot, who’s using the milestone as an opportunity to completely revamp his label. Goot has established a strong Australia-based business of scuba dresses, graphic digital prints, and sporty surf-inspired silhouettes—in other words, a very Aussie vibe. But as the tides shifted away from those trends, he adjusted his priorities to the U.S. market and is introducing a new look for Fall ’16 that should suit the women who live there.Considering the seasons in Australia and the U.S. are opposite—when it’s summer in Australia, it’s winter in New York—it makes sense that Goot inverted many of his past signatures. He’s replaced neoprene with natural fabrics like cotton, silk, and wool, for instance, and in lieu of structured body-con dresses, the silhouettes were soft and draped to “collapse around the body.” Dresses were still a strong suit, but these hung straight down from the hips and were often layered over sheer jersey knits or ribbed pullovers. In place of the surf influence was a new emphasis on streetwear—see the hoodies, cargo pants, and bomber jackets. Cut in oversize, swagger-y shapes, those androgynous staples reflected Goot’s own move to New York. “Seeing how people dress here and feeling the energy of the city brought in a lot of those masculine elements,” he explained.Goot launched his label 10 years ago with a collection of unisex “essentials,” so the masculine vs. feminine thing isn’t really new for him. But after years of curve-hugging dresses, it was refreshing to see him go in such a different direction—and confidently. He didn’t seem to have any doubts, even when it came to the riskiest pieces, like a pair of khaki trousers with a skirt tacked onto the hips. “This journey for me has been about experimentation and discovery, and just thinking about different ways to put a collection together,” he said. After a somewhat lacklusterNew York Fashion Week, a little experimentation is certainly a good thing.
27 February 2016
It's been a decade since Australian designer Josh Goot launched his label. Now he's well established back home, with stores in Sydney and Melbourne, freshly restructured and once again turning his attention to international growth. "We've been kind of bubbling along, but now we're going to push a little harder," he said during his Pre-Spring presentation in Paris. He's also moving forward in terms of materials, movement, and construction for an exploration of modern ensemble dressing.Goot's ideals of ease stand at the crossroads of architecture and sportiness. But where his style was once body-con, the designer is now focusing on more grown-up, fluid constructions worn in layers, as in a beguiling "evening sport" teal-and-white apron dress that cinched at the hip, or a white tailored jacket and pants with black piping that Goot called "a wardrobe unto itself." Elsewhere, a simple wrap tank dress folded easily around the body, descending into an asymmetrical hem. "The idea is that the clothes will evolve with movement," the designer noted of a flared skirt that stopped just short of A-line, and elongated, oversize shapes with a recurring side-split theme.For Spring, Goot dialed down the prints, forsaking major motifs in favor of new styles of knits, like an off-the-shoulder top, and a more textural finish on silk pieces designed for layering, voluminous menswear-inspired trousers with silver inserts, a digital interpretation of a brushstroke on jacquard, or a surf-graphic-inflected print. Color came through in a navy and mandarin elongated top and skirt ensemble ample enough that some will probably just choose to wear the top as a dress. One of his signatures, the softly tailored trench, now comes with men's cotton shirting in front and a coated gray marle in back.After much consideration, Goot is also moving into accessories. Here, too, his attitude is that less is more for sleek leather totes with colorful edging, thick-soled slides that are "somewhere between a dress shoe and a flotation device," and fold-over handbags done in collaboration with L.A.-based Australian designer Jonathan Zawada, realized by the "neo-luxury" brand Feit.
1 July 2015
Is there a special school in Australia where they teach designers to make the perfect scuba dress? If so, Josh Goot must have been a star student there. The Sydney-based designer showed more than a few ace scuba dresses for Pre-Fall, not to mention his handful of likewise body-hugging separates in a waffle-textured technical fabric and floral-print tops redolent of surfer girls' rash guards. This felt like a very Australian collection—no accident, given that Goot, looking ahead to his label's 10th anniversary next year, has been in a reflective mood and reexamining his brand DNA. His signatures were here in spades—the luxe baseball jackets, the eye-catching digital prints, the boyish shirting. All of this was executed with a light touch—indeed, some of his more gossamer looks, like a sheer black dress with a swath of printed silk wrapping coyly around the body, were so barely there they seemed as if they might float away. That was a welcome development; Goot was getting a touch monumental with his fabric bonding for a while there. The sculptural approach remained, notably in this season's folding and wrapping, but the clothes felt much more approachable. A case in point was the collection's standout look, a cropped button-down with a curved hem paired with a floral-print georgette skirt with tiered ruffles falling down one side. The play with shape and proportion was apparent, but only just. That's a good tone for Goot to strike as he embarks on his second decade.
11 December 2014
Australian designer Josh Goot is coming up on his brand's tenth anniversary, so for Resort '15 he decided to look backward for inspiration. "I felt like it was time for a palate cleanser," he said. "Once you rediscover your foundation, you can build on top of it again." Gone were the vibrant digital prints and hyper-boxy shapes of recent seasons, and in their place were easy, sporty black, white, and gray wares in soft organza, cotton, and jersey that enhanced the natural female form.When Goot debuted his collection in 2005, it featured a range of slouchy upmarket loungewear in slinky gray fabrics. He revisited that series for Resort—though these iterations had a more sophisticated twist—and it resulted in the strongest section of the lineup. A black cotton cocktail frock with zip cargo pockets, thick grosgrain straps, and silver hardware would work for office or evening. And another black blazer-front mini with origami-like gray folds and cutouts was both relaxed and flirty.Elsewhere, the designer referenced artist Robert Morris' minimalist works. His inspiration translated into gridded column-silhouette dresses and separates that were sharp but simple. Elongated pencil skirts, cut shorter in the back and trimmed with striped, ribbed cotton, were particularly flattering. But a sheer black gown with multiple layers of perfectly aligned gridded organza was the strongest contender for the collection's standout item. Goot showed it over some viscose boy shorts and a matching tube top, because, well, we can't all be Rihanna.This collection was a crisp, well-balanced mix of versatile clothes for the real woman's wardrobe—save for a few sheer metal-weave silver pieces, which, while fantastic, were apparently just for editorial. Being based in Sydney comes with its challenges (the opposite selling seasons, for starters), but if Goot continues in this pared-down direction, he's sure to expand his steadily growing international following.
11 June 2014
Our review will be posted shortly. See the complete collection by clicking the image at left.
11 June 2013
There may have been a moment in Josh Goot's career during his earnest efforts to establish himself in the Northern Hemisphere when he soft-pedaled his Australian connection, but since moving back to Sydney, he's made peace with that bit of his past. And Resort may well turn out to be the answer to that seasons-in-reverse issue that dogs designers down under, especially when, as here, the collection was so full of the things that make great Australian designers—like Nicky Zimmermann, Jenny Kee, and Dion Lee—so, er,great.The prints that draw on Oz's incredible natural environment, for instance. Goot's striking digital motifs were inspired by the underwater colors and textures of the Great Barrier Reef. "I wanted them to feel like animal prints," he said. So he made fish look like zebra and tiger—as well as flowers, or complete abstractions like the graphic he called "future fossil," which was a psychedelic Rorschach.Another Sydney strongpoint, the body consciousness that comes with the climate, has always been one of Goot's strengths, too. Here, he bonded silk to thin foam to create a second-skin alternative to neoprene and cut it into a new silhouette with darting detail. The dipped hems and mesh inserts added a go-faster athleticism.Goot's first attempt at knitwear fit right in with the high-tech body con. His intarsias felt as dry as a bone. "I love cold, dry textiles," he almost apologized. "They feel really clean."There was the same quality in Goot's tailored pieces, also new territory for him. He focused on corsetry, using 100 percent cotton jersey bonded to a thin layer of foam. If you ain't got the Bondi bod, Goot'll give it to you.
3 July 2012
You can take the boy out of the country, but you can't…etc., etc. Josh Goot's Aussie roots are always there in the beachy underpinnings of his clothes. For Spring, that meant a scuba subtext: precisely engineered prints, bonded seams, body conscious all the way. Short dresses were high in the front, cut out at the back, like a Bond(i)-girl bathing suit. The footwear was influenced by surfboards. And the elongated T-shirt dresses and tanks felt like the kind of easy pieces you'd throw on after a day on the sand. The color palette, with its acids and its airbrushing, had the confident optimism of the eighties, as did the broad-shouldered black-and-white-patterned jackets Goot draped over his little dresses. He was born in 1980, so any echo of that decade was clearly fantasy on his part. But maybe that's what gave the collection its appealingly dreamy, graphic quality. Compensation enough for its lack of breadth or depth.
20 September 2009
Josh Goot is the third designer in London to mention geology as his inspiration. Where Marios Schwab and Graeme Black looked at mineral deposits (as Peter Pilotto did last season), Goot was thinking of "the organic lines of stone, and cutting and chiseling it." Essentially, the idea led to delicately color-blocked neutral and black tailoring for Fall. A long section of cream and black jackets, pants, skirts, and dresses were, in some cases, cleverly constructed so that half a jacket was cream and the other black. After that came ripple effects that looked like contour lines on maps. The minimal sportswear look had an urban ease about it, but the audience was waiting for something more: a new representation of the prints that followers are beginning to expect from Goot. They were a long time coming, and attention flagged until they finally showed up as speckled patterns derived from rocks. They missed the vibrant punch of Goot's work last year, and by the end there was a sense that the collection could have been condensed by a third and still have got its message across.
23 February 2009
Emerald, violet, pink, aqua, pea green, yellow—the multihued slick of color that opened Josh Goot's show started life as watercolor paints sloshed onto a flat-bed scanner. "Then we manipulated the images on the computer so they twisted and contorted like water," the designer explained. That high-tech, semi-scientific visual filtration of natural phenomena is a fascination Goot has (coincidentally) shared with Louise Goldin and Peter Pilotto this week. In Goot's case, the liquid prints undulated vividly down the length of sporty stretch-georgette tank dresses and set the color codes for all the single-hued pieces that followed.The effect had a refreshing energy about it: pragmatic modernism dealt out in color-blocked jersey layerings of tees, sinuous skirts, and capes, or dresses with a graphic simplicity (the best of those came later: a half-black, half-nude toga elegantly cut from two squares). The show would have benefited from some condensing, but still, it left a bright and optimistic impression on the London audience. Goot is a young Australian who has chosen to show in Britain for the first time, but his sensibility, particularly this season, fits right into the local scene.
18 September 2008
You can take the boy out of Sydney, but you can't take Sydney out of the boy. Twenty-six-year-old fashion week newcomer Josh Goot has made a name for himself everywhere from London to Hong Kong designing cotton jersey separates with a laidback, sexy cool that is synonymous with his native Australia. By way of his New York introduction, he showed trenches, suits, racer-back tank dresses, and tube skirts in black, white, silver, gray, and lemon yellow. This made for a fun, though not flawless presentation.For the most part, the clothes looked invitingly easy to wear: soft as can be, and when cut with a little give, as a zip hoodie minidress was, forgiving, too. Of course, many were designed to cling. Of those, two dresses made from arabesques of black and heather gray jersey were chicest. But to make it here, or more precisely on the runway, he'll have to develop a more pointed design message, and leave the primary colors down under.
8 September 2006