Most of the slides have been left intentionally blank, because so was my mind. There are so many words, and WORDS, and WRODS, and I couldn’t rightly seize any of them. Vogue found a few, at least. It says the show was called Cyborg, based on a feminist reading Alessandro Michele found, and the set was designed to look like a laboratory:
Michele sees … the possibility of being liberated from the confines of the natural condition we are born into. “We exist to reproduce ourselves, but we have moved on. We are in a post-human era, for sure; it is under way.” He called to evidence the breaking down of binary gender roles that is played out in his collections. There’s no more just being girls or boys today: “Now, we have to decide what we want to be.”
I will also just let this wash over you:
The show radiated cross-cultural meanings, a clashing of symbols by a brand that has markets to charm across the globe. There were Russian babushka headscarves and modest, covered-up folk-costume dresses next to spangled, ’20s showgirl chain mail and jewelry; a pagoda hat and Chinese pajamas; English tweed, Scottish plaid, and a Fair Isle sweater; Italian ’80s vintage beige businessman suiting; a glam power-woman ruched dress and gold leather peplum jacket. Gucci logos were everywhere, of course, and there were branded love letters to Sega, Major League Baseball, manga, Paramount, and Russ Meyer. In other words: A zillion billion clothes and accessories guaranteed to stoke Instagram commentaries for weeks to come.
We… have a lot to discuss. Not least of which is which celebrity will dare to carry a replica of his or her own head. My money is on Leto.