13 September 2013

It's 90s. And not 1990s, but a century ago. To be exact, I suppose it's 1890s.

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When I first looked at the setting, I said it. I whispered it. This is what I've been waiting for.

I'm kind of bored with sleek clean straight white runway, when all the focus is just clothes (and there are even repetition all the way). Same old same old. I suppose if all the pictures of every single runway is printed out and scattered, one must be having photographic memory if she/he can sort them based on the designer.

But this, once again, Marc Jacobs, with a remarkable impression creating the set by of mixing and ravaging cigarette butts, old Vogue magazines, Turkish carpets, drift wood, a beat up bus destination to “Dark Hollow”, a huge Adirondack chair, and pieces of any other trashes left over a destructive demonstration, created something stand-out, something recognizable, something memorable, which I believe is the main point of holding a fashion show.

Broad-shouldered military jacket with appliqué, sequins, tassels, braiding, and delicate ornaments which look like edge layer of a six-star-hotels curtain. It's dark. But at the same way it shows its strength and, fear. Large hibiscus prints on a coat with long selection of shorts; black, navy, brown, bottle green, all to corroborate the sense of mysteriousness. The covered-up Victorian Gothic dresses were so beautifully made it didn't look like it's correlated with the theme of "Burning Man, shores-of-Gotham City sort of beach scene" that Marc explained post show. However, the daring darkness resurrected from his "lovely nightmare" left us wonder if this collection was a reflection of old nostalgia from the past that we tried to elude. It's there. It's dark. And we all have to embrace it to see the beauty coming up on our way ahead.

Signorfandi, It's frighteningly beautiful we all are sweating...