Dolce & Gabbana RTW Spring 2011

Dolce & Gabbana's spring muse is a young bride. Highlights included a sexy sheath dress, with delicate lace and re-embroidered with lace appliqués.

Move over, Scarlett. Step aside, Maria von Trapp. You’re not the only girls capable of transforming curtains into clothes, with beguiling results. Domenico Dolce and Stefano Gabbana’s spring muse is a young bride-to-be who, after second thoughts on the church steps, runs home, breaks into her hope chest and starts sewing, turning bed covers, sheets, window lace and a million deconstructed doilies into the stuff of sartorial delight.


If the ruse sounds charmingly wacky, this was to the core a signature collection. The designers even spelled it out, opening the show with projections of key words – Mediterraneo, caldo, bianco, sensuale, luce, Santorini – along with house imagery, including more than a few photos from their current campaign featuring the all-black clad Madonna. Hey, why not get your money’s worth?


Though fall’s campaign star may not be a doily-dressing type, Dolce and Gabbana are banking that their paying customers will fancy the notion. They’re even making it easy for her; they incorporated a few dresses that at retail will hover near a very economical $500.


Not so the majority of looks, most of them highly intricate and always beautifully crafted. Save for a few styles in animal spots, a gentle greenish floral and of-course-we-have-black, everything in this expansive collection was white and looked genuinely as if its fabrics could have been sourced from a hope chest. Though the range was broader than one might assume — Nonna’s heirloom tablecloth is far sturdier than a breezy linen hanky – the mood was singular, in fact, a bit too focused.


Variety came via altering the silhouette and in texture plays, though the latter must be seen up-close for full appreciation. The designers love spring’s emerging over-the-knee length for sexy sheath dresses, one in wide, alternating bands of satin and lace, another, in tablecloth linen with a delicate lace yoke and skirt inset, re-embroidered with lace appliqués.


There were short baby dolls and sweeping gowns; a trapeze here, a shift there, even a classic white shirt extended into a jumpsuit. Sexy – for sure. But given the source, a different kind of sexy, a demure kind, right down to the substantial white foundations that kept even the most transparent looks studies in propriety.

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