Born and bred in Naples (in Pompei, no much less), Francesco Scognamiglio continues to be deeply in love with this metropolis of staggering magnificence and louche-ness, opposites that coexist in an internet of inextricable contradictions. This clearly feels fairly pure for the designer, who delves with abandon into Naples’s historical past and decadent heritage for inspiration. All that was obvious in his Spring assortment, during which he referenced the esoteric Sansevero Chapel, a 16th-century masterpiece that hosts the statue of the Veiled Christ—a marble surprise that appears so extremely actual, as if it have been fabricated from precise flesh draped within the thinnest of material.

“Theater, mirrors, artifice,” stated the designer backstage, stating wispy, ruffled attire in white and shell pink, gentle as a feather and virtually liquid of their sensuality. Clear Chantilly lace and inconspicuous level d’esprit conjured up a romantic really feel for fluctuating lengthy attire, exuding reminiscences of boudoirs and 18th-century courtesans—but they had been slashed, layered, and multitiered to trendy impact. Black silk mikado jackets with spherical shoulders felt extra substantial; they got here inlaid with graphic intarsia impressed by peeling stucco ceilings that appeared like cracks by way of which a fragile jade inexperienced lining might be glimpsed. Attire in white or black liquid satin had been printed and embroidered with an oversize iris motif and adorned with an abundance of rosette appliqués; they balanced the general barely there impact and the nude transparencies of the lineup. The craftsmanship was undoubtedly beautiful. It is sensible that Scognamiglio—backed by a brand new investor, Malaysian entrepreneur Johann Younger—will debut his Haute Couture assortment in Paris in 2016, the place he’ll lastly fulfill a childhood dream.

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