And confused
Here’s a summary of the highs and lows of Kuala Lumpur Fashion Week 2018
3. Rizman Ruzaini
Rooted in the nostalgic iconography of yesteryear, one might be able to make sense out of the absence of creativity, or the longing for bygone times, but rather in the pleasure of (re)discovery which it seems to be just another recurring trend.
The designer duo put forth 90s revival, portrayed in cult-classic film Clueless by Cher and Dionne’s trademark preppy tartan separates whose style hold significant cultural legacy and sentimentality to the public mainstream.
Meanwhile, the resurgence of 90s fashion imagery and the eclectic dress sense of urban dwellers was easy to replicate, but the brand has managed to reinterpret and appropriate the hallmarks of the not-sodistant past by featuring the facile timelessness of black turtlenecks, dungaree, minikilts play with plaids and holographic vinyl pieces.
Nonetheless, there was a fine line between the melodramatic neo-nostalgia and postmodern irony when a dance crew was busting killer moves to Drake’s latest hit ‘In My Feelings’ which didn’t seem particularly fitting.
During the finale, models took their final bow to cues of 90s R&B soundtrack ala TLC, followed by Rizman and Ruzaini’s celebratory dance to Crazy In Love by Destiny Child which immediately sent the audience into a frenzy as they cheered for their beloved designers.
4. Jovian Mandagie
After three years of being absent from the scene, the return of Jovian Mandagie and his much-awaited Spring/Summer ‘19 collection was perfected with elegant knots of haute couture in dramatic and playful silhouettes.
There was Aleeza Kasim playing on “rich lady” aesthetics with class and elegance; Deborah Henry as graceful as always; and Vanessa Tevi and Fazdlun Abas’ self-confidence blazing down the runway effortlessly like they own it.
Their appearance celebrates the unity of fashion and everlasting friendship within the industry. These “supermodels” have always been Mandangie’s muses since the day the brand was launched.
It wasn’t a frantic effort to put on an astonishing show, or a desperate attempt of copycatting what some might reference to Versace’s Spring/Summer ‘18 show. It was an ode to women, a bonafide homage at the right time as the label reintroduces itself in new fashion.
Twenty one ravishing looks each carefully thought out and constructed as it should be. Indeed the spectacle came from combining the robust rap culture and Mandangie’s interest in romantic art.