Kiss this: we delve back into the Dazed archive bringing you the March 2000 smooching cover series, photographed by Rankin and styled by Alister Mackie.

Boy–girl, girl–girl, boy–boy, forget the labels, pucker up and go with the flow. Happy Valentine's day from Dazed.

Photography Rankin
Styling Alister Mackie
Hair Alain Pichon at Untitled* using TIGI haircare
Make-Up Val Garland at Untltled* using Philosophy skincare
Styling Assistants Sofia de Romarate and Sara Burn
Photographic Assistants Gish, Laurie and Venetia
Models Chris Farrell, Mebrak, Lulla and James Rousseau all at Select, Jamie del Moon at Success, Aron at Models One, David at Vision, Zora Star and Jocelyn both at Silvestre, Tanja at Next

Given David Bowie's 66th birthday present to himself and the world, 'Where Are We Now?', a bolt out of the darkness reflecting on his Berlin era, as well as the upcoming Bowie V&A exhibit, there has been a drought of the Thin White Duke on catwalk soundtracks this season. Bowie is, for Raf Simons, a hero – and has been since his youth. Simons' silhouette owes much to the musician, his models' candour and fair hair often reminiscent of one of the greatest recording artists of all time.

It's interesting then that Simons, for his finale music – which turned away from the thud-thud techno we all love, and the Belgians are obsessed with – to Bowie's 'Modern Love', from Let's Dance. The track is a world away from the wrought emotion (and coke-detached surface) of 'Station To Station' or the teutonic wail of 'Heroes'. It's a true crossover hit and one that snobs would undoubtedly scoff at.

That choice said everything about this Raf Simons collection. Here was the designer drawing out his loves and influences in a new way. The clothes were 70s from an angle Simons has never perched himself at before, with patterned wool tank tops, big collars and cuffs dishevelled on fitted shirts, fluid trousers, fuller-cut suit jackets with patch pockets, striped satin t-shirts with matching bags and an architectural take on the lavallire, unbowed. If the feeling before was all Sisters of Mercy, Smashing Pumpkins and Berghain bangers, this was more Grange Hill, corduroy, Ford Cortina. From the angsty youth to the wistful one. There's something about that that feels very right – and honest – for the moment.

It would be a bit odd if Simons's post as womenswear creative director at Christian Dior hadn't questioned his entire creative spectrum. Looking at this show, with its celebration of colour and open fashion ambition, it's clear the designer is in a good place personally right now. He wants to share it with all of us.

“Is this a fashion show or a funeral?” someone whispered into my ear on the first day of shows. But surprisingly, by the last day of LC:M a new kind of darkness emerged on the runway when designers sent out their own unusual breed of monsters and vampires. Of course there was a twist -Katie Eary's vampires weren’t concealed in black but rather covered in fuchsia flower prints, whilst Shaun Samson's monsters looked as though they had been taken from an American ice hockey team.

“Horror is something I am constantly obsessed with,” screamed Katie Eary backstage as her fang-wearing models walked past her. “I started by looking at eighteenth century paintings of banquets,” she continued. “I was looking at the food actually and then I thought what if there were bodies amongst it – this idea of eighteenth century gore.” This season, her prints did have an almost gore-like quality to them, particularly in the way her images were layered over each other. Flowers and lobsters were digitally manipulated in deep pinks, blacks and blues – translating the painterly quality of the eighteenth century images she referenced. Models appeared wearing gold chocker neck pieces and pointy fangs, allowing Eary to craft her own hybrid of streetwear vampire.

Christopher Kane also paid homage to the icons of horror in his menswear presentation. Dracula and Frankenstein both appeared on printed t-shirts and on velvet slippers, whilst his moody colour palette of midnight blues, blacks and deep purples were an nod to the darkness genre itself. Kane's use of fur took reference from werewolves and appeared on shirt collars and evening jackets.

For Shaun Samson, fur was also used as a reference to monsters in his streetwear-heavy collection. Models entered the runway wearing shabby fur earmuffs and ice hockey jumpers - Samson calling them his own “ice monsters.” Backstage, he claimed another important reference this season was camping - “For some reason, I always think that when you go camping you feel like you're in your pyjamas. There are monsters out in the woods and the only way you can protect yourself from the monsters is to say a prayer to God.”

Although Matthew Miller didn't claim that vampires or monsters were on his mind when designing his autumn / winter 13' collection, there was certainly a moody element this season. On the runway, his models appeared in uniform. Each with two of their fingers painted red, something Miller claimed was “a reference to anarchism,” but could have been taken from a modern horror film. The slogan 'Born to Fail' was printed in red on his garments, his “response to being fucked over by Generation X.”

Katie Eary created a new breed of vampire on yesterday's runway. Models emerged with fangs, slicked back hair and wearing bold prints - all to a heavy soundtrack of A$AP ROCKY. Yet this season Eary looked to the past to create her contemporary vision of undead beauty. “I started by looking at eighteenth century paintings of banquets,” she explains; a reference that manifested itself in her use of hypnotic pink floral prints and blue lobster designs, which were taken from the compositions and rich colours of these paintings. These bold tones stood in contrast with her more muted garments. Particularly a series of inky blue and midnight black tailored jackets – something that could have been taken from a contemporary Dracula film. With horror in mind, we caught up with Eary backstage to talk slasher movies and how the collection came about:

“Horror is something I am constantly obsessed with. I love the 90s Scream movies. We all had sleepovers and watched Scream movies and loved it. I started by looking at eighteenth century paintings of banquets. I was looking at the food actually and then I thought what if there were bodies amongst it – this idea of eighteenth century gore. The prints came about as they were always covered in flowers and with lobsters – because that was the food of the rich. In terms of tailoring, I wanted to show that I can do it. I gave it my own twist. London can be quite slack and everyone gets on their high horse and thinks they are a tailor. Actually it is really not that difficult.”