Agenda-setting intelligence, analysis and advice for the global fashion community.
The sensations of a fashion show are many and varied: sights, occasionally scents, the odd touch here and there, and sound, always. That doesn’t just mean the DJ’s contribution. Sometimes, the clothes themselves provide an aural undertow, swishing, rustling, crinkling or, for Romeo Gigli’s Spring/Summer 1990 presentation, tinkling, like wind chimes. Kirsten Owen, the model embodiment of Gigli’s fragile, romantic ideal, appeared on the runway in an outfit wrapped in a fringe of large glass beads from the island of Murano, in the Venetian lagoon. With her long pendant earrings and glass diadem, she could have been the Byzantine Empress Theodora. And she chimed as she walked, until the beads began to shatter.
Please sign in to ensure you can read our agenda-setting intelligence, analysis and advice. Or get in touch at support@businessoffashion.com if you experience difficulties.
