Metaphors in Motion at Trinity Fashion Show 24

Spring is on the horizon; change is on the way. Soon, we will be able to shrug off our cosy jumpers and flaunt some skin. Trinity’s Fashion Society took this season of change as thematic inspiration for this year’s annual fashion show. According to Chairperson Yasmin Ryan, the theme–Primavera–celebrates the four seasons as well as the four years she has been a Trinity student.

Photo by Rory Chinn for Trinity News

Comprising forty models, the show was split into four sections: summer, fall, winter, and spring. Each ensemble harmonised with the showcased season, radiating dazzling colours for summer and embracing layered silhouettes with cool blue hues for winter.

While each look was charming in its own right, the finale was the most striking. Crafted by designer Leah Cohen and gracefully modelled by Lucy Arbuthnott, the head-to-toe monotone red ensemble–complete with tights, gloves, and a veil–left an indelible impression. Lucy was one of the few models walking the show with any experience outside of Trinity. However, as a spectator, I never would have guessed. The show exuded professionalism and savoir-faire, which is a testament to the collective effort of the approximately one hundred individuals who brought the show to life.

While undeniably successful, some shortcomings were hard to overlook. The concept of coordinating spotlight colours with the seasons was ingenious, yet the execution fell short. The placement of the lighting was inconsistent to the point where sometimes the light was shining directly into the models’ faces–creating a whitewashed effect–while at other points, the illumination was too dark to appreciate the outfits fully. 

Further, the palettes of each outfit were not all that synonymous with the seasons. If it wasn’t for the switch in lighting cues, the change in seasons would be difficult to comprehend based solely on the looks alone. Whereas the show began with Catriona Duyile’s brilliantly yellow mini dress, signifying summer effectively, model Sadie Benson’s blue and white floor-length dress–while beautiful–failed to represent spring in my opinion.

Despite these minor hiccups, the show triumphed on multiple fronts. Some notable merits include the location, diversity, and unique theme. To begin with, the show was held in Trinity’s exam hall, as opposed to last year’s EPIC Museum location. Hosting the event on campus allowed for a greater sense of community and connection to college. On that note, transforming a space typically associated with dread and stress into a vibrant, creative environment was a stroke of brilliance. 

The diversity of models in terms of gender, ethnicity, and sizing proved a refreshing choice considering the prevailing exclusivity of the fashion industry.

The same can be said for the designers, as many source their material from within Ireland, which further accentuates the society’s commitment to thoughtful inclusiveness. 

Model Rosie Fogarty’s look, for example, displayed Claire Garvey’s handiwork: an eye-catching, red-gemmed dress and matching trousers. This fashion-forward Dublin-based designer not only has a couture shop in Dublin but has also been featured in multiple fashion weeks and the most recent Oscars.

In regards to the theme, Primavera utilised seasonal transformation as a metaphor for the ever-evolving nature of both fashion and life itself. Much like the shifting seasons, each section brought its own distinct energy, colours, and moods to the runway, creating a dynamic and immersive experience for the audience. The runway, a emblematic canvas, became a living representation of the human experience, evolving with the passage of time. 

Beyond these visuals, the atmospheric mood of the performance played a crucial role in elevating the overall experience. The lighting, despite minor inconsistencies, succeeded in crafting a transformative ambiance. It mirrored the shifting seasons, casting warm, golden hues during summer and cooler tones for winter. Ultimately, the show successfully wove together the beauty of the seasons while celebrating diversity, creativity, and inclusivity.

Primavera didn’t merely show off gorgeous clothing–it imagined a narrative that resonated with the universal themes of growth, transformation, and the cyclical nature of life–akin to progressing through four years of college. As the models gracefully glided through the changing seasons, the audience was transported into a realm where fashion became a reflection of the human journey.