Where Truman Capote had his swans, Massimo Giogetti has his cygnets (baby swans), as the MSGM looked to the daughters of those original icons who steal their wardrobes and twist them anew. 

“Through the lens of MSGM, the splendour of the Côte Basque reverberates in a contemporary story,” the show notes read, “the collection – like Capote’s society – is glittering on the outside and dark in the soul.” Here, Capote’s infamous La Côte Basque is transported to today, the paparazzi bulbs are flashing outside, and gossip swirls amongst the velvet booths. But there’s a new generation in town. These MSGM neo-socialites listen to Boy George (the finale soundtrack), wear what they want and do as they bloody well please. They wear their shorts short, and tongues out. They paint abstract imagery across figure-hugging dresses and stitch polka-dot embellishments on tops. They take their mother’s tweeds and tailoring and rework them with furry collars, punk zips and crystal studs. Silhouettes spin, shrink and amplify, created graphic moments that speak more of NYC’s Lower East Side than high society. A pop art sensibility fizzes with Lichtenstein dots and acid hues, while memories of extravagant soirees become distorted silk decorations painted by Bruges-born artist Jan De Vliegher.

As for the show space, Giogetti cited Lars von Trier’s Dogville as inspiration, dividing the venue into “imaginary rooms, bordered by curtain” as the otherworldly voice of German countertenor Klaus Nomi mixed with the smashing of porcelain plates, crystal glasses and glittering chandeliers. Sounds like La Côte Basque is having one hell of a night.