This was no child's play at Maison the Faux. Netherlands-based designers Joris Suk and Tessa de Boer treated us on a bacchanalia of food and fabric for NYFW, where they debuted "CHUBBY CHASER" inside the legendary Milk Studios. Considering that this was their first show in New York City, the Netherlands-based brand was not afraid to overfeed us.

As most fashion shows attempted to express a collection inspired by certain decades or abstract concepts, Maison the Faux acted on social commentary to mock the industry's obsession with excess whether it be of bare skin or materialism. A plus-sized model sat in the middle of the stage in front of a silkscreen featuring bouncing breasts in the background; a platter of rambutans, papayas, dragonfruits and breast toys was held between her hands as if it was an offering to her. Behind the models, a female voice echoed "Chubby Chaser" infinitely over the speakers. As there was no front row, anyone could simply get up close to the stage and interact with the presentation.

Aligned in rows of three, male and female models were dressed in oversized and fitted garments that were either four sizes too big and/or small. Floor-grazing split-leg pants were paired with strapless bustiers and shirts with lace-up corset waistbands. Nipple-friendly garments included a Rihanna-esque baggy denim jumpsuit and a double-faced silk café au lait and cream plunging cape top. Nude "CAUTION" tape-esque wrappings hugged the necks, wrists and feet with "FAUX" emblazoned in bold black font. Even the brand's namesake was printed on transparent plexiglass fringe bralets, belts, and chokers.

The contrast of silhouettes and excessive logos harked back to the early 2000s; however, Suk and de Boer kept it very modern by styling traditionally feminine pieces (e.g. corsets and nipped-waisted power jackets) on men. While there were so many avant-garde pieces in the collection, the outerwear lifted me higher than nirvana.

One of the most memorable jackets was a silver plastic oversized coat, which immediately reminded me of Miley Cyrus' Prada tinsel jacket at the 2015 VMAs. Given that this jacket was meant to be worn for parties and award shows, it would gladly upstage everyone to give them a run for their money. Another standout was a bi-colored cognac and tan faux fur coat, where the hues fused together like a Kit Kat bar.

Although the presence of fur was quite an unusual choice for a Spring/Summer collection, it was similar to Kanye West's Spring/Summer 2012 fashion show four years ago where he had models wear furry backpacks.

All in all, Maison the Faux simply wasn't just a fashion brand nor a team of designers wanting to entertain the consumers/followers of (high) fashion. Instead, Suk and de Boer were there to provoke our collective consciousness and question our relationship to consumerism. If anyone needed to take on a Marxist angle on anti-consumerism without getting lost in verbal translation, look no further than Maison the Faux.