Two things stood out in the transporting Pompeii-inspired show: the luxurious, couture-level craftsmanship — with the richness of the fabrics and the execution — and the collection’s shift — while remaining characteristically “out there” — toward more wearable, less costume-y pieces. Real clothes, including cool vinyl pants and denim.

Certain silhouettes evoked ecclesiastical attire, especially the long white tunic dress with large long sleeves and a high neck, worn over a black skirt, with a delicate tiara style ornament on the model’s head.

A great black-and-white-check motif figured among the leitmotifs, patterning a big caftan top in sheer chiffon trimmed with a line of ostrich feathers, say, but also surfacing on the more street pieces like denim, worn with a lacy T-shirt and sleeveless vest, also with fluttering ostrich trims.

Many ingredients spoke to the designer’s Spanish heritage, notably the crochet and beautifully made white and black lace used for the carwash-style panel embellishments trailing from looks.

Corsetry for men was key in the signature cross-dressing affair, like the leather pieces with lace-up details, and a large belt worn over a red short-sleeved shirt and skirt with fringe details.

While the concept could have been tacky, it was authentic in its celebration of what Alejandro Gómez is known for and passionately believes in: a progressive, modern view on men’s fashion, one that brings Spanish culture to the forefront.

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