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Vogue Charity Fashion Show’s (VCFS) 27th annual show left audiences in awe once again.
The three-hour-long show, centred around the theme “Days of Being,” showcased the ups and downs of the human experience.
Divided into seven scenes—not including VCFS’s notable “Masculinity” and “Lingerie” scenes—the show brought together a diverse array of designers, models, dancers, and musicians, each contributing to their unique perspective on the theme.
The first scene of the show, “Nightlight,” opened with a beautiful pointe number—the first in VCFS history—followed by a delicate cover of Taylor Swift’s “Seven.” Capturing the memory of innocence and bliss, the collection, designed by Shira Snitman, ArtSci ’25, was both playful and feminine, featuring a pastel colour palette with subtle pops of red, lace, and bows.
“Growing Pains” was next, shifting the overall tone of the show to one of self-love and growth. Designed by Safya Hassan, ArtSci ’25, the collection drew inspiration from 2000s films and stereotypical high school characters. I enjoyed how every outfit was so different—each representing a different “character” —yet came together so cohesively.
While the collection was exceptional, what stood out the most in “Growing Pains” were the two dances. Though two dances in one scene is excessive and made the show much longer than needed, both of these numbers were powerful in their message and contributed to the overall success of the show.
The third scene, “On the Verge,” was punky, grunge, and all about teen angst. The scene opened with a performance of “Take Me Away” from the Freaky Friday soundtrack. Clearly inspired by the early ’00s punk, rock era and Avril Lavigne, the collection—crafted by Sage Cooper, ArtSci ’26, and Noah Satusky, ArtSci ’27—featured a lot of red, black, denim, star cut outs, and pops of lace.
My personal favourite scene, “First Love Fever,” was next. The goal of the scene was to capture the intoxicating, nervous, thrilling rush of first love, and did just that. Kicking off with a beautiful rendition of Rihanna’s “Love on the Brain,” “First Love Fever” immersed the audience in a whirlwind of emotions. The dance that followed was equally as captivating, depicting a tumultuous but intoxicating young romance.
What set this scene apart from the others was the fashion and modelling. Muskan Sandhu, ArtSci ’24, curated a romantic collection celebrating the female body. Inspired by the Victorian era and rococo aesthetics, the garments featured intricate lace and ruffle details, corseted bodices, and dreamy satin silhouettes that accentuated the grace and elegance of the models.
The final scene of the first act was the long awaited and highly anticipated “Masculinity” scene which VCFS is known for. The sexy, spunky, and playful choreography got the whole audience laughing and the scene ended on a high with an impromptu performance of “I’m Just Ken,” from the Barbie movie.
Act two is where the show began to lose its momentum. While each scene had its moments, act two failed to deliver the same level of excitement and engagement as the first. The scenes lacked coherence and failed to effectively trace back to the theme, “Days of Being.”
The first scene of act two, “Still I Rise,” was about strength and empowerment. Designed by Ceallachan Tierney, ArtSci ’27, and Isabella Bavaro, ArtSci ’27, the collection consisted mainly of elevated, androgynous work wear pieces in bold colours.
The “Lingerie” scene followed “Still I Rise.” Featuring a large portion of the cast, the scene was powerful, celebratory, and the confidence on stage was palpable.
Next was “Rearview,” a poignant exploration of nostalgia, bittersweetness, and reflection. Designed by Ava Galloway, ArtSci ’26, the collection was made entirely from second-hand and recycled fabric. Drawing inspiration from the 70s, the scene featured a tap number—another first in VCFS history—to “Dreams” by Fleetwood Mac and a cover of “Look At Us Now (Honeycomb)” from the TV show, Daisy Jones & The Six.
While the collection and the scene were beautiful and had a clear vision, the scene felt slightly out of place within the overall narrative of the show. The shift from the bold, confident energy of “Still I Rise” and the “Lingerie” scene to the more introspective and nostalgic tone of “Rearview” was somewhat jarring, disrupting the flow and pace of the show.
The last scene, “Long Live,” upped the ante with an energetic Bollywood dance. A celebration of life, the collection, designed by the Head of Design, Sage von Kursell, ConEd ’24, featured a creative take on classic formal wear. Though the designs were glamorous as-is, I would have liked to see more colour and shine.
The show concluded with one last dance to Madonna’s “Vogue,” leaving the audience with a sense of exhilaration and awe. Once again, VCFS delivered a show, albeit a long one, to remember.
Tags
Annual show, Dance, Performance, Theatre, vcfs
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