The opening night was all red carpet and a flurry of cameras at every turn. Designers Kambriel and Curse were in attendance with an entourage decked out in Kambriel finery, which wasn’t an easy feat on a hot and muggy September evening. Also present were partners Karen Fleisch and Robi Diana of Arkivestry, who also had their pieces showcased alongside Gaultier, Alexander McQueen, and Yohji Yamamoto.

Cocktails were sipped as cameras clicked away upstairs to a soundtrack of Switchblade Symphony and Bauhaus. The security guards opened the doors to lead the guests downstairs to the basement where the exhibit was displayed. This dark descent segmented clothing and accessories from 18th century gothic literature and a Victorian mourning curio cabinet to a funhouse-like mirror with club wear showcased within it and an iron cage in the main room, like a cemetary gate enclosing various high-end creations. The themes varied from romantic to dangerous. Various comments were exchanged, lamenting the fact that some of the clothes on display were far beyond our budgets, but we admired them just the same.

Why does gothic fashion continue to harvest such interest? Various hybrids have stemmed from the scene as the years go by, from elegant neo-Victorian to the futuristic looks of cybergoth fashion but the attraction to black is as strong as ever. Black is a power colour, looks flattering on most people, and can absorb everything in the room. It seems like any designer calls the all-black clad ‘goth’, yet gothic fashion is beyond just an all-black ensemble; it is evocative of something more mysterious and macabre. This is a crowd that puts a lot of thought into their dressing habits.

It’s really difficult to pick a favourite piece from this show, but I have to admit, I miss my big skirt in the showcase. The big, lacy puff of a skirt that I bought at Religious Sex over ten years ago is hard to miss – paired up with a green corset, of course.