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The reaction to the economy situation have made designers go either in the direction of trying to please everybody by toning it down or produce fashion escapism as an antidote. Antonio Marras went in the latter direction. The set itself was already itching to tell a tale or two as there were giant story at the start of the catwalk that resembled something from Disneyworld's fantasy land. So, out came a flurry of bead, gem, sequin and ribbon encrusted pieces that looked like as though someone had naively picked bunches of grosgain, handfuls of other embellishment to decorate dresses, jackets and tops. Like a young child who first discovers shiny things and is forevermore inexplicably attracted to them, Marras tried to evoke that same feeling with the clothes. Kenzo's floral prints also play a big part and for the most part look as though they have come from weathered and aged horticulture notebooks of the 19th century. The finale became even more like a Disneyworld ride with those giant books slowly opening up to reveal a pop-up of flowers and butterflies that made the models walking alongside the set look like the Cottingley Fairies depicted in 1917.