Bringing techno to the temple, Chet Lo’s NEWGEN debut saw the spike-loving designer merge his Buddhist upbringing with the kind of enlightenment that can only be found on the dancefloor. Bubbly beats got the feet-tapping approval of the frow, echoing through the hall of the Old Selfridges Hotel as lily-pad-hatted models glided through the sterile space in hues of opaque orange and blue.

“I wanted that juxtaposition of how I used to think and how I’m thinking now: a mix of sexy and modern but also old-fashioned,” says Lo of trading in his acidic, Y2K gradients and furry clubwear for a uniform of bare-footed wonder. Introduced to the fold were new shapes, like creamy duster coats, loose trousers cut back-to-front and hip-hugging denim twinsets decked in prints of abstract florals, inspired by Dutch graphic designer Karel Martens. These carried over into button cardi’s, slit-cut dresses and shapely flare panel skirts, accented by their own shades of soft neon.

Lo’s menswear was just as revealing, giving us low-rise waistlines and the kind of ribbed long-sleeves you’d find on the sweat-covered dancers at the city’s many fashion-forward queer nights. True to form, muscles were accentuated in fraying, contrast mesh, with Lo imagining his models caught in the crossfire of Mara and Buddha. The story goes that on the night of Buddha’s enlightenment, the aforementioned Goddess of Death sent an army of arrows his way, which, upon arrival, dropped to the floor and bloomed into the kinds of beautiful, swirling flowers that comprise Lo’s 3D-printed headwear. 

At the end of this rainbow, we find none other than Lindsey Wixson, cloaked in an ethereal gauze gown, embroidered with growing vines and budding, crystalline petals. That’s flower power, baby!