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Byline: Florence Kane
The year is 1985. About 20 top industry names-including Bill Cunningham of The New York Times and buyers from Bergdorf's-are crowded into a borrowed shoe showroom. Backstage, five models dress themselves in a space the size of a closet by grabbing whatever they fancy off Isabel Toledo's racks. A boom box is set up, but the batteries start to die and the Cuban music comes out sounding all warped. In its review, the Times amusingly refers to these as "unsteady Ricky Ricardo-esque rhythms."
Isabel Toledo has never done things the boring way. Thirteen years after the madcap show that made Manhattan's fashion press sit up and take notice, she traded in the conventional runway altogether to start putting on exhibits at museums like MoMu in Antwerp, often jointly with her ...