Edward Meadham and Benjamin Kirchhoff’s shows often have an eerie, theatrical air about them, whether a whiff of “The Turn of the Screw,” a nod to “The Addams Family” or the odd historical reference.

This season’s show, with its miles of lace and ruffles and models with long baloney curls and wide-brimmed black hats, was no exception. Among the strongest pieces were curve-hugging, short black frock coats with shiny gold buttons, and a white lace slipdress with a matching detached collar that resembled a Victorian nightgown.

Some of the long dresses, with their gingham sleeves, red-and-black flower and vine embroidery, verged on the folksy, but the final exit — an elegant embroidered gown and gold corset — was something the young Elizabeth I might have worn for a daytime romp around the grounds of Greenwich Palace.

Edward Meadham and Benjamin Kirchhoff’s shows often have an eerie, theatrical air about them, whether a whiff of “The Turn of the Screw,” a nod to “The Addams Family” or the odd historical reference.

This season’s show, with its miles of lace and ruffles and models with long baloney curls and wide-brimmed black hats, was no exception. Among the strongest pieces were curve-hugging, short black frock coats with shiny gold buttons, and a white lace slipdress with a matching detached collar that resembled a Victorian nightgown.

Some of the long dresses, with their gingham sleeves, red-and-black flower and vine embroidery, verged on the folksy, but the final exit — an elegant embroidered gown and gold corset — was something the young Elizabeth I might have worn for a daytime romp around the grounds of Greenwich Palace.

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