She disappeared into the party never to be seen again”. We uncoupled fingers and parted like ships in the night. I’ve seen many of her films, including Venus in Furs and am intrigued by Roman Polanski. Obviously, I wanted a photo, but I’m much to polite to ask. We locked fingers in amazement, staring at each other, no doubt for different reasons. My mind cleared, and the words form Grace Jones’s Libertango “Strange, I’ve seen that face before…” floated into my head. Through the heady mist of champagne bubbles, I noticed somebody standing all alone looking at me. Pandemonia went on: “The place was heaving with celebrity’s of which I am notoriously bad at recognising. Supermodel, Natalia Vladinova put on this incredible party with fairground rides and carnival sideshows”. Eventually, I found myself at the Naked Heart foundations, Fabulous Fund Fair. “A few years back during London fashion week I went to all the best after-parties. Which led to one of the craziest nights of Pandemonia’s life. It is also the excitement around the after-parties. Rather, it is the whole hype and drama around the show”. It is not only about what people are wearing in the fashion show. Much of the fashion show is about networking. Pandemonia shared how “Seeing what other people wear is a huge part of a fashion show. There is a lot more to the festival than admiring the fashion on the catwalk. When it comes to LFW or any fashion week in the world. Last-supper by Pandemonia London Fashion Week What should we learn from this? There is a lot more to Pandemonia than what meets the eye. Pandemonia studied Homer, Odysseus and the Trojan War and quotes Virginia Woolf’s Orlando as though modernist 20th-century literature is their native language. However, Pandemonia is also an expert in Renaissance sculptures. A glossy, ageless, 7-foot tall socialite who is a construct of symbols and archetypes. Pandemonia is all of these things, but she is also so much more. Making a parody of the 21st-century media-sphere. Others say that Pandemonia is an artist, who, in becoming a social media sensation. Who after years on the front row of Fashion Week, walked in Jean Paul Gaultier’s final show in January 2020. Some say Pandemonia is a living sculpture. The interviewee is known simply as Pandemonia, though, there is nothing simple about this individual, Pandemonia the Artist. There is an anonymous figure on the other end of the phone. The near-silence of the music let the clothes do all the talking, providing one of the most refreshing and clear-minded runway presentations we’ve seen in quite some time.Pandemonia the Artist: On Gaultier, Giorgio Vasari, and Grace Jones’s Libertango As one of the premier colorists of our time, Ackermann debuted bold feathers over razor-sharp suiting, metallic bombers, and a very epic aubergine dress that channeled Diana Vreeland and Irving Penn’s photography. With just over 30 looks, Ackermann dug into Gaultier’s archive to create collection that harkens back to the heyday of the ’90s supermodel (think: sauntering, turning, posing, and demonstrating the wondrous ability of clothes to create drama). His dashing, breathtaking silhouettes were a lesson in restraint and form. Thankfully, his ready-to-wear already bordered on couture, with a revelatory eye for tailoring on the female body (and male, for that matter-hi Timothée Chalamet). Jean Paul Gaultier’s latest couture guest designer is none other than the legendary Haider Ackermann, who hasn’t shown his namesake brand in almost three years.
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