His was a celestial vision of the cosmos assigned to large projector screens. What followed was an onslaught of fleeting images (tornadoes, fog, models in pagan headpieces) in quick succession as the “immersive presentation” moved from one end of the space to the other. Then, adding alien-like movement from live dancers, Pugh kept his message simple–to the point where a catwalk and his clothes, lacking in real-time presence, were not necessary.
I was no fan of Pugh’s spectacle; I wasn’t alone. “Is that it?” remarked one fashion editor, seemingly misled by the catwalk disappearance. Pugh’s live presentations in Paris and London have always had an element of showmanship–ever since he staged a fashion carnival for his first show. With Lexus sponsoring the event, perhaps this was Pugh’s way of drawing a heady crowd: where a fashion week bash combines with a multimedia attack of the senses.
But to reduce a fashion show to its purest emotion? It’s a novel concept that has yet to be explored in depth. At the junction of man and technology, ritual and experiment, the catwalk meets its demise. Fashion meets its future.
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