Shot in his hometown atelier, where Palomo Spain came to exist, the story follows these eccentric characters living together as desirable beings and owners of their sexuality. Think fabulous mistresses in their version of the Eden garden, relishing the flavour of each other’s lust. The models are Palomo’s friends and muses, adding an extra dimension to their palpable familiarity and natural intimacy. In a fusion of draping, tailoring, and appliqué work, there’s a young man in thigh-high boots, wearing a fur-trimmed dressing gown; another man, his face made up divinely, crowned by an oversized floral ‘floppy’ hat, and matching 3-D flowers on his shirt. Any inflections of lust are totally without aggression. The models touch and caress each other, their heads tilted backwards in ecstatic peace. The clothes, whilst aesthetically familiar, are perfectly suited to a mood of passion in afternoon sunlight, the flower prints flecked with shadows, the soft, silky underwear decorated with someone else’s hand. Fashion always wants to be progressive, but often fails to do so due to its major corporative structure. Palomo’s unapologetic take on what menswear can and should be is applaudable; it is exciting to see progressive design that both men and women, and anyone between and beyond the gender labels, would want to buy and wear. It is obvious why the fashion world fawns so readily of Palomo’s bewitching work. With such a careful marriage of design and attitude, the story is far too juicy to ignore.