Inside MAISON the FAUX's Queer, Space-Age Tanning Salon
By Justin Moran
Maison the Faux Spring '18
MAISON the FAUX, Arnhem’s self-described creative studio, staged its spring ’18 show as a surreal, space-age tanning salon, where models walked in and out of glowing booths aptly branded with the word, “FAUX.”
Designer duo Joris Suk and Tessa de Boer cast Brooklyn performance artist Miscellaneous Dom Top as the production’s ringleader, standing at the runway’s center in a fishnet mask, cheek retractor and Chanel-inspired pink tweed that looked equal parts Upper East Side trophy wife and Ladyfag’s Holy Mountain. Wielding their arms like a manic witch, Miscellaneous surrounded a topical water dispenser, as MAISON the FAUX’s outsider cast, dubbed “FAUXmosapiens,” urgently filed onto the runway.
Like the creative studio’s previous collections, this season delivered a strong dose of femme glamour with an eye on early 2000’s celebrity culture—campy, playful and shamelessly queer. Striped vinyl jackets with strong ‘80s shoulders and matching Wonder Woman boots, tulle pastel skirts that recalled childhood dress-up and fluffy fur coats fit for a bitchy heiress. Tees were printed with the phrase, “In Jesus We Trust,” with Jesus’ name scribbled out in red ink, echoing the show’s reckless, rebellious energy.
After all the FAUXmosapiens gave their best don’t you dare touch me, queen of god damn everything strut, they all returned to the catwalk with sinister grins for MAISON the FAUX’s grand finale. The models’ reference was reportedly Jack Nicholson in The Shining, leaving things on an eerie, off-kilter note as a dramatic organ remix of Abba’s “Man After Midnight” closed out the show.
Keep clicking for MAISON the FAUX's full spring '18 collection: