The Zang Toi show opened with a caftan-clad goddess strutting to Arabic music at the exquisite Park Avenue Christian Church, sacredly evocative of the Blue Mosque in Istanbul. The production then quickly transitioned to a soft French song** reminiscent of the transitory phases endured by the prominent luxury railway, the Orient Express—Europe’s first transcontinental express, extending from various parts Europe to Constantinople (Istanbul)23. It was founded in 1883 by Compagnie Internationale des Wagons-Lits (CIWL), a Belgian company. Couture coats, evening dresses and gowns laden with jewels, fur adornment, and other unique ornamentations—ranging from bedazzling epaulettes, wild beehive hairdos, and captivating hosiery—hypnotized attendees.
Discovering a way to infuse the structured, composed look of the western female, with exotic accoutrements of the eastern woman, Zang Toi is a genius at diversifying elegance and couture. His fashion epitomizes the fractalization of cultures: historical love, function, and intention. For example, basic sculpted overcoats lined with tweed are adorned with sapphire silk lapels, thereby representing hemispheric enmeshment, or juxtaposition. Similarly, Zang Toi’s conservative wool peacoats with zippered sleeves and fitted turtlenecks are rendered exciting and ‘othered’ via some oriental carpet silk twill lining; meanwhile, rigid collars boast mohair adornments, alongside medallion lace, “black sage mini shrug”, and “royal peacock feather crepe prints”.
The traditional strapless mini paired with diamond chokers laden with handwoven sapphire and diamond crystal crosses… jewels obviously sourced and of any historical relevance thanks to the Eastern Hemisphere… continue to elevate his conception of the modern woman: Classy and cultured—non-annoyingly opulent. Leather bases accompanied by oversized tunics with “horsehair bordered kimono sleeve[s]” further reinforce his ability to stir insight toward the overtly-revealing, paired with the seductively-concealing.
Overtime, the runway manifested Zang Toi’s magnificent capacity for blending western function with eastern excitement. He teaches us how to incorporate well-roundedness with cultural flavor to imbue elegance. To be exact, ‘hand-beaded imperial dragons’ are built into the sleeves of velvet blazers for men; meanwhile, strapless velvet gowns with hand crafted crystal and sapphire crosses etched unto their bodices sported the runway. The designer’s signature is etched prominently on each piece, as viewers salivated, asserting themselves to adequately memorialize fresh looks: Notable masterpieces. The most iteratively regal and culturally collaborative look of the evening was indeed everyone’s favorite: the emerald hand, crystal and sequins tulle- ball gown. Like—WOW ….
