"Two marching queues of step-team members from the States stomped down towards the set from a high platform. What erupted on the sparse stage was not so much a défilé (the French word for “march,” which is used to characterize the martial procession of bodies we call a fashion show) and more a performative declaration. Their aggressive demeanor heralded a shift in mood from the swinging struts of every other collection: their body language was the opposite of the transient 20-minute procession that has been made of most fashion shows. The firmness of their positioning on the ground-level stage commanded respect and attention. Transcience became intransigence; percussive step usurped sanguine glide.
The stage was broad, pushing the audience to its extremities. This consecrated the set as a special theatre of sorts: it was a space in which a meaningful message could be manufactured; only actors were the focus. But, unlike a narrow runway, it seemed limitless. The dancers activated the space, moving all the way to its extremes, occasionally conquering the domains of the audience. The way in which they oscillated between the edge and the centre of their space gave the performance a pulsating, energetic quality.”
Yet another reason to love Rick Owens