Digital Fashion Week

A queen wearing her own court as jewellery. The small figures around her face are not pendants — they are minor officials, fitted into the bezel because no other accommodation was available this season. She carries them well; the officials, for their part, have stopped objecting to their new posting.

A face that fits the dress better than the body underneath. The gown was cut for someone slightly more elsewhere, and the wearer has obliged by adjusting the eyes. It is not clear which is the original — the gaze or the garment — and the show has tactfully declined to clarify.

A garment behaving like slow, deep red water. The hem does not fall — it pools. Walking in it requires consent from the dress; tonight, the dress has agreed, and the wearer has been allowed three deliberate steps across the room before the colour reasserts gravity over the situation.

A ring of living flowers, briefly trained for the runway. The flowers do not know they are couture; after the show they will go on doing what flowers do, which is mostly ignoring everyone. The wearer treats them with the polite distance one reserves for highly skilled freelancers.

A knot the wearer has never tried to undo. The garment is held together by a single twist of gold at the waist; the rest of the look is implied, and the implication is part of the credit. To undo the knot would be to unmake the look, which is presumably what the design is daring you to do.

A muse held together mostly by stones. Beneath the surface there is less anatomy than you would expect; the stones have become structural, and any attempt to remove them for cleaning would result in the muse simply not being there afterwards. She approves of this — she has always preferred to be looked at as a material.