There is always hope. Thanks to KTZ, prints are no slaves to Flatland anymore. While all the gothic, baroque lace-meets-leather could have belonged to the previous couple of seasons, with a dark magic that's possibly the most explicit of all, there was a twist that was something more, much more than that. 

Like paisley, one of the latest trends in print, suddenly jumps dimensions and transforms into 3D shapes, snaking around and crawling off dresses, skirts and jackets. Next to all that, the discreet nude pieces with lace-up details look nearly as shocking, standing out against a storm of black opulence.

The guys behind Kokon To Zai a.k.a. KTZ were inspired by the book Art Nouveau Ornaments and the film Liquid Sky, but watching the collection, it's the unfair truth of Edwin A. Abbott's Flatland that I can't seem to get out of my head. And while it's comforting to know prints have been liberated and elevated, what about us 3D creatures? How can we hope to ever make the change when we cannot even wrap our heads around the concept of a next level? 

And, like the square in flatland trying to jump to a higher dimension, I want to live in a world where not only Gaga seems to be allowed to think of stepping out in KTZ.

runway stills: vogue.co.uk

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