Slow, proud, and graceful, they emerged from the smoke-licked back of the runway. Their feet were bare but for powdered chalk, their eyes painted red or contact-lensed to be pupil-less. A piano’s soaring chords were engineered for emotion. One model in a pair of high-rise tailored trousers had his chest hair artfully styled to spell out Art School.

I hadn’t seen an Art School show since back in its boundary breaking MAN days in 2017, and on the face of it this one was consistent with its original Theo Adams–choreographed formula of unrepentantly celebratory dramatics: We’re LGBTQ+ and if you don’t like it, bad luck. Personally, I like it; however, between 2017 and now it feels like representation of non-cis sexualities—thanks much to Art School and others—is rightly well established in, if not the wider world, then certainly in the narrow realm of runway fashion. The ceiling that Art School once railed against has been rightfully shattered.

This means that the inherent subversive tension that imbued the original shows feels diluted. Thankfully, the real business of this business—you know, clothes—was well served when you looked beyond the chest hair. The press release spoke of a collaboration with the wonderful artist Maggi Hambling, but sadly this was hard to detect. Yet what did uplift were some of the garments: The slashed outerwear was tempered by some quite beautifully executed non-razored pieces that were transgressive in this context for being clothes that any unreconstructed norm with a sense of taste would, could, and should rightly hanker after. The same applied to the button-up dress that both prefaced (in black) and postscript-ed (in white) the show.

Source: Vogue

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