The technical problems that delayed Vionnet’s demi-couture presentation by a full day were hardly minor: Faulty thread had ruined the collection, requiring seamstresses to forgo sleep and re-create many of the 15 dresses in less than 48 hours.
The capes and gowns were inspired by the archive of couture great Madeleine Vionnet, and the illustrations Thayaht made of her delicate designs. Goga Ashkenazi, the owner and creative director, said she focused mainly on the period from 1929 to 1934. As for the demi-couture moniker, that’s because dresses require only one fitting and quantities of each style are limited to one per city.
The shapes and color combinations seemed from another time; black mink warming the shoulders of a languid cape before yielding to a panel of cream and then midnight blue. On more streamlined gowns, swags of laminated fabrics defined the torso or drifted off shoulders, adding drama.
The simplest looks were the most impactful, like a shimmering midnight blue Chantilly lace gown dabbed with resin that shimmered like dewdrops, or a pleated red column with tubular jet beads arranged in neat bands hugging the waist, and as shaggy fringe on the shoulders.