The photographers cluster at the foot of the steps. As I turn the corner, I see them and immediately feel the heaviness of a gaggle of lenses upon me. I stand straighter and pretend I can’t see them though I can see nothing else. They pan up and down my outfit. The shutters don’t click. Ouch.

It’s a momentary sting. After all, I’m not here to be noteworthy. I’m here to take notes.

The show is about to start, and we’re led into the cave. The benches are austere. There are no windows. It feels like we’re about to be told a great secret. Pulsing off the walls is almost anĀ in utero soundtrack that resonates in the blood.

The runway is a bottleneck of toy cars. The lights go down; the lenses come up.IMG_1683.JPG

In just a few short years, House of Cannon has taken Sydney by storm, because Annie Todd and her team create designs so quintessentially of our time that they evoke a certain nostalgia for the now. The latest collection, Daydreaming Detroit, does not disappoint.

There’s a certain democratic element to the designs this year. Maybe it’s the American heritage of the collection and the fact that this is an election year. (Maybe I’m projecting.) Formerly, the graphic visuals were orchids which have an innate level of prestige. This year the graphics are weeds. It’s egalitarian enough to please Bernie Sanders. The menswear features dandelion blazers and leggings while the women’s dresses concentrate on elevating the fluffy seeds to high art. It’s an innovative modern take on Georgia O’Keefe’s classic idea: No one sees a flower really. It’s so small. We haven’t time. (And that was before Instagram.)

A model plucks her way down the runway. A fluid train of toy cars billows behind her making her look like she’s just landed. She’s not new to town. She’s new to this earth.