Love Affairs in Melbourne-Chapter 297 - 292 Boundless Starry Sky

The "white wall" and "White T-stage" at the venue weren’t truly original, but veiled in a layer of primordial "white veil," and the "ground" was the same.

After the layer of "white veil" on the ground and walls was removed, the venue transformed into a dreamlike T-stage composed of gigantic screens.

The primitive feel of the event site vanished in an instant, replaced by a complete image of a Milky Way stellar system.

After the "primitive set" was replaced, changes also began to take place "above" the venue.

The huge screens converged above the heads of the audience.

The venue had shrunk a bit from before, with the huge screens enclosing a three-dimensional space.

A 360-degree, no blind spot, boundless starry sky enveloped everyone present at the event.

At the end of the T-stage, the two doors from which the models made their entrances and exits now looked like two black holes.

If it were someone else’s event, they might not choose screens, but direct projection instead.

But projections can be distorted due to guests blocking the light at the venue, a situation the fastidious Yan Yan could never accept.

Maison Yan II spared no expense for this vitally important fashion show.

Yan Yan never really considered the cost—Maison Yan II’s events could never be associated with the word "shabby."

After removing the VR glasses, the earth-shaking changes at the venue finally allowed Maison Yan II’s fans to recognize the usual handwriting of this upcoming Parisian Haute Couture house.

At this moment, the music stopped, and everyone watching the show at the venue looked towards the "black holes" at the end of the T-stage, waiting for the spotlight to turn on for the first model’s appearance.

But there seemed to be a mistake with the music.

When the music started again, it did not switch to one more suitable for the runway but remained the same mechanical dance music.

The entrance of the models to such a rhythm would inevitably seem a bit odd.

The screens "above and below" at the venue displayed the same changes in the Galaxy starry sky as when everyone first put on VR glasses.

The image felt repetitive, as though the sound engineer had accidentally pressed the wrong button.

With the same images and music as the virtual scene just replayed, the "black holes" at the end of the T-stage did not produce a stream of models walking the runway as the music resumed.

After maintaining the "wrong music" for ten seconds, the "black holes" finally reacted.

A "Big White Spot" emerged from the black hole, dancing a mechanical dance with exactly the same movements as the Little White Dot had in the VR glasses.

Only this time, it was no longer Virtual Reality but a dance within the real scene.

This "Big White Spot" wore a pair of shoes and was cloaked in white from head to toe.

It wore no clothes but was veiled in white, just like the original walls and T-stage of the venue.

Already without clothes, this "white dot" slowly retracted the final layer of white "fabric" from its body as it appeared on stage.

The exquisitely proportioned body of the "Little White Dot," when stripped of everything, became a screen itself.

This "Human-shaped Screen" displayed stars, but instead of a Milky Way sky, it depicted the changing star maps of the Twelve Constellations.

The "Human-shaped Screen" continued its mechanical dance at the center of the T-stage, performing many complex spins and somersaults with outstanding skill.

The movements were challenging enough, but even more so, no matter how the "white dot" moved, the positions of the constellation stars that made up its body remained undisturbed.

The calm starry sky, with the "Human-shaped Screen’s" dance, displayed the Twelve Constellations in different positions within the Black Hole of the Galaxy, continuously moving as a whole and showcasing each of the twelve distinct constellations.

After the dazzling performance, the "Human-shaped Screen" began to move quietly.

A very unique mechanical dance frozen pose.

Through the design of the dance movements, the patterns of the Twelve Constellations were showcased to the utmost on the "Human-shaped Screen."

The "Human-shaped Screen" began displaying from the stance of the Aries constellation.

Once the pose was fixed, models began emerging from the "black hole" to the right of the end of the T-stage.

The first two models appeared wearing day and evening attire inspired by the elements of the Aries constellation.

When the model dressed in the Aries evening gown reached the "black hole" to the right of the T-stage, about to disappear into the vast universe,

The "Human-shaped Screen" transitioned to new steps with the Taurus constellation’s fixed pose.

At the same time, two models dressed in Taurus-themed day and evening attires emerged from the black hole.

Through the models’ interpretation, the Taurus constellation slowly came from outer space to the center of the event’s T-stage.

Whenever a model made an entrance, the "Human-shaped Screen" would hold still, blending above the feet with the background, except for the constellation’s glow that displayed along with the fixed dance movements.

After the exhibition of twenty-four day and evening ensembles from the constellation series concluded, all the lights at the venue went out.

There wasn’t a glimmer of light.

Photographers had been asked to turn off their flashes as they entered the venue.

Yan Yan’s finale series of models began their catwalk in a completely dark environment.

If it weren’t for the fact that the music hadn’t stopped, many would have succumbed to the panic of a power outage.

The models emerged from the darkened black holes onto the T-stage and started to glow with their own light.

The glow wasn’t bright enough to reveal the models’ faces, let alone allow a clear view of the specifics of the dresses.

The light the models brought was that of twelve dazzling constellations.

It was a very peculiar glow, much brighter than the faint light of phosphorescent fabrics but not as blinding as lights.

It gave the impression of seeing stars through the aurora borealis.

The "constellations" one by one traversed past the black hole to the right of the T-stage and circled the runway.

This time, instead of disappearing directly into the left-side black hole, the models lined up one after another on the steps between the two "black holes" on the stage.

After the last "constellation" found its step on the T-stage, the background of the vast starry sky lit up once more.

Twelve models dressed in monochrome gowns started a mechanical dance in the boundless starry sky, presenting Yan Yan’s grand finale series to the attendees.

When the lights came back on, the Twelve Constellations on the models did not dim but shone with the dazzling brightness of diamonds.

These stars were made of a brand-new material that could absorb and store energy more efficiently than luminous materials, creating and saving energy on their own.

As the models danced to the mechanical rhythm, the "Twelve Constellations" slowly increased their brightness.