Milanese chic, particularly the Fifties kind — womanly silhouettes that suggested a sexiness without being overtly so — was the feel at Antonio Marras. The designer was inspired by the late actress-singer Milly (think an Italiano postwar Marlene Dietrich) and the love the poet Cesare Pavese professed for her.
Marras offered formfitting silhouettes, and mixed several folkloric fabrics (some with a tapestry feel or needlepoint details) with furs and lace. A coat with a bold flower motif had fur sleeves; a fur and patchwork fabric shawl, draped around the shoulders and belted at the waist, was teamed with a pencil skirt, and a mixed floral-print dress hugged the model’s curves with a Southern Italian flair (a nod, perhaps, to Marras’ Sardinian roots). The combinations of materials and patterns could have clashed and looked clunky, but in Marras’ hands, the overall effect was appealing. In the show’s finale, the backdrop curtains opened to a tableau vivant of all the looks against an old, grainy photo of the Galleria Vittorio Emanuele. It made for a nice visual and drove home the charming Milanese flavor of the collection.