Mirror Palais Collection IV

model: Cindy Kimberly

I’ve followed designer Marcelo Gaia’s work since Rosemilk, his first (and now defunct) label with co-founder Lisa Caprio. When he launched Mirror Palais on his own, I became utterly devoted, enraptured like the rest of the Internet and its most-beloved fashion darlings (Bella Hadid, Imani Randolph, and Danielle Garza to name a few). I was obsessed. Drooling, really, with every behind-the-scenes teaser and campaign announcing the next drop. Only three years in and Mirror Palais garnered a cult following most young designers could dare to dream of; it came as no surprise that the brand’s first show during New York Fashion Week was an overwhelming success.

And three weeks later, no matter how quickly the (fashion) news cycle churns, I still can’t get this show out of my mind.

Its preoccupation at the forefront of my mind has little to do with the trending aestheticization of the South American Roman Catholic look. To be clear: the Mirror Palais interpretation is neither fetishization nor appropriation, but a marriage of culture and commentary; Gaia is Brazilian-American, born to immigrant parents. The references and subversive takes are in your face—the show did take place in a cathedral, after all—but it’s the sensation of the clothes, physical and emotional, that stand out. It’s clear he doesn’t just want to dress women: he adores them. Look at (and ask) any woman in Mirror Palais and there’s no doubt that she feels more beautiful, confident, sensual, and settled in her body than ever before.

The craftsmanship isn’t always outwardly innovative, but the attention to detail is impeccable—a rarity these days. Sheer fabrics drape and hang across all bodies beautifully. Everything is delicate, tiny, or both: these are dream clothes for you as you are now.

P.S.: Marriage rates are on the decline and here we are, transfixed by tradition and tickled by the rigidity. Down the aisle we go to make a vow to no one but ourselves:

Pleasure first: from this day forward, for better, for worse.

.   .   .

xx

{images via}