“Upstairs, downstairs—who’s inside and who’s outside?” Steven Stokey Daley’s one-liner about his fall show neatly captured the dynamics of the drama that was playing out around his set.

At first glance, what with the four-poster bed, long dining table, chaise lounge, and garden picnic spread under a tree, it looked as if he might be about to stage all the world’s Downton Abbey, Brideshead, and Chatsworth country house-type fantasies rolled into one. That might’ve been cozy and nice. But no: by twos and threes, in couplings and recouplings, men with men, women with women, a balletic undoing of the British class system began to play out.

Full Review: Vogue

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