was the second collection of the night (after Paul Smith) to reference photographs of stylish Africans. It also claimed inspiration from the civil rights movement in the U.S. and black workers in the Deep South. There were apparently echoes of Sissy Spacek in Badlands
and the explosive spontaneity of the abstract expressionist movement, too. This last bit wasn't so far off the mark—there were indeed prints that looked like a Willem de Kooning paint orgasm. Otherwise, whew! If you didn't already know it, you might be able to deduce that at least one of the Miller sisters has a theatrical bent. For Sienna, the play is presumably the thing—or at least the game you play when you're building a narrative for your collection. The clothes themselves—faded denims, short shorts, bandeau tops, micro minis, and tiny waistcoats—seemed more suited to Daisy Duke than Sissy Spacek, never mind a civil rights activist. Which isn't to say that Savannah Miller hadn't added a little jazz to her Southern blues. Match the black leather biker jacket with stud-and-bead-encrusted sleeves and the draped lamé minidress, and you'd be ready for a wild night at the roadhouse.