Muchness. Moreness. Mostness. The past few Meadham Kirchhoff shows haven't exactly been minimalist affairs. But this season, Ed Meadham and Ben Kirchhoff outdid themselves, staging a show so rococo you could actually sicken on its opulence. And that was the point, such that there was one. Backstage, after the show, Meadham insisted that for him, this collection was "about" not being about anything, aside from luxuriating in beauty and wanting more of it. How very fashion! Or looked at another way, how very anti-fashion. Because whatever Meadham's intent, this show screamed subtext. And its message was: Enough.

Is there a fable or a fairy tale about a girl who, like a foie gras goose, is glutted with good things? If there isn't, Meadham Kirchhoff wrote that story here. Call it, pace Courtney, "The Girl With the Most Cake." The models passed through the runway's parlor scene vignettes with the languorous air of aimless, eighteenth-century rich girls, plucking flowers from decadent bouquets and nibbling gorgeously iced cupcakes. Despite their matelessé pannier skirts, pouf-sleeve corset jackets, and bodysuits dripping with crystal, they did not seem happy. Even so, watching the show, you couldn't help but think that a pair of the Roger Vivier-inspired, bow-covered Meadham Kirchhoff boots would make you pretty happy, though perhaps not as happy as Meadham and Kirchhoff were when the shoes arrived from a London cobbler in the nick of time before the show. And those baroque white denim jackets, and the pleated wallpaper jacquard skirt, and the little cashmere sweater reading "Yes"—what girl wouldn't be content for all time with those items in her wardrobe? The consumer appetite is an insidious thing, and don't Ed Meadham and Ben Kirchhoff know it. How very fashion.