Garmentory

Alaïa accentuates the amorous arrangement of female anatomy,

Burberry blueprints britches for bleak Basingstoke weather,

Chanel champions a changeless charm called ‘chic,’

Dior devises a darling descript, detaching damsels from post-war dissension and diligence,

Eckhaus electrifies equality and experiment in extraordinary elements,

Fendi flirts furs and fineries famous for their phonetic figure,

Gucci governs garments of grade, grace, and you guessed it, glimmer,

Helmut harvests habits harsh, handsome, honest and haphazard,

Issey integrates international inspirations, identifying with industrial ideas and textile innovation,

Jean Paul jests jauntily with jewels and jazzy jackets,

Kenzo’s kits kiss kudos to kemptness and kinetics,

Louis laces with a laudable love of luminous logos and lively leather,

Moschino materializes merry and maddening marvels, mocking his masters for mirth,

Narciso needles nimble nighties for the notorious and the nameless,

Oscar’s ornaments observe an obedience towards the opulent order,

Paco pens pretty portraits, premier and polished in a pinch,

Quira’s quilts question the quest for feminism, quaking quotas with qualified quirks,

Roberto rocks rugged wrangles with rococo wraps to ravish raving regulars,

Salvatore seduces society-people with savant sandals,

Thierry theorizes that theatrical threads would thrill fashion thearchy,

Uma unveils uplifting utilitarianism and the uniqueness of underdressing,

"Versace versace versace,"

Westwood’s women wake up willful and wild, wayward and wondrous,

Xander’s xerographics x-acto xenogenicism,

Yves yields yarns yclept the yare yuppie of yesterday,

and Zegna zaps zippers and zones zygomorphy for zillionaires.