Breakfast during Chanel

March 10, 2015 - fall Denim

The major sense on walking into a Duckie Brown uncover this afternoon was that there was some-more and there was less. More to see, and some-more to navigate: In plain sight, confronting a rows of seats, were racks of clothes, logging assistants and a phalanx of models watchful to be dressed, glossed and pulpy into service. What there was reduction of was any eminence between a backstage and a runway. The walls had been private — and so, for that matter, had a good series of front-row seats to accommodate a new set-up.

“We only wish to be transparent,” pronounced Daniel Silver, one half of Duckie Brown. “These are severe times — financially, emotionally. Look during a world. Instead of covering up? Let’s be pure and let’s be hopeful.”

“And,” he said, after a pause, “we wish to see a uncover for once.”

The look behind a runway curtain, such as it is, isn’t a new gambit. Its many famous iteration was a work of Isaac Mizrahi, immortalized in a 1995 documentary “Unzipped.” (Grant Woolhead, Duckie Brown’s stylist, had mentioned that film to several of a models backstage — mostly, he reported, to vacant stares.) But Mr. Mizrahi’s models were mostly silhouetted in shadow, bright behind a scrim. No such fitness for a models during this show, not that any — save one shaken chuckler— seemed to mind.

“It’s really social, this setting,” pronounced Steven Cox, a other half of a label, as he greeted guest holding their seats before a show. Usually, he’d be cooped adult in back, attending to a final details. But this time he was charity kisses and greetings, along with pastries from a internal bakery, like a correct host. Then a allocated time arrived, and he ducked backstage, that is to say, into plain sight. — MATTHEW SCHNEIER

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