Spotted in the front row were Orange is the New Black “Crazy Eyes” actress Uzo Abuda (who fittingly wore a vibrant red-orange shift), and Carmen Electra who showed up in a sultry, sheer crimson dress.
The Hong Kong-raised designer drew nods of approval from Aduba (who in retrospect, I probably should not have spent so much time ogling) with highly structured dresses and two-pieces “inspired by the decorative treasures of the Ming and Qing dynasties.”
And how do ancient Chinese relics translate to the runway? Even better than you’d imagine. Think high-contrast outfits with bold, graphic landscape prints rendered in saturated colors. Think silhouettes that are decidedly modern, from boxy tops to wide-legged pajama pants.
I might as well call it now: prepare to bare some skin next year, because the fashion world seems to be collectively endorsing sheer and wide mesh details. Carmen Electra, you were definitely onto something with your see-through dress!
The final look of the evening was a gorgeous summation of the 37 outfits we’d been treated to: a floor-length sleeveless gown in white power-mesh, covered by a cerulean appliqué of traditional ocean wave patterns. It’s not often that I open my closet and ask myself, “How can I most closely resemble Chinese porcelain today?” but Vivienne Tam’s striking collection has made me rethink the boundaries of art and fashion.