Guillaume Henry brought a touch of subversion to his Sixties schoolgirl aesthetic in his collection for Carven, by borrowing elements of ecclesiastical robes to give his flirty dresses an illicit edge. A cap-sleeve dress came in a dusty tapestry-inspired fabric with an overblown paisley print, its high white collar set off by a vertical slit at the chest. Peek-a-boo velvet dresses, tops and skirts were laser cut in circular motifs inspired by stained glass windows, while a cocktail dress in cardinal red satin was carved open at the front to reveal a white lace bra. Henry also used a richly colored print based on the Hieronymus Bosch painting, “The Garden of Earthly Delights,” to create a few delights of his own.

Guillaume Henry brought a touch of subversion to his Sixties schoolgirl aesthetic in his collection for Carven, by borrowing elements of ecclesiastical robes to give his flirty dresses an illicit edge. A cap-sleeve dress came in a dusty tapestry-inspired fabric with an overblown paisley print, its high white collar set off by a vertical slit at the chest. Peek-a-boo velvet dresses, tops and skirts were laser cut in circular motifs inspired by stained glass windows, while a cocktail dress in cardinal red satin was carved open at the front to reveal a white lace bra. Henry also used a richly colored print based on the Hieronymus Bosch painting, “The Garden of Earthly Delights,” to create a few delights of his own.

To access this article, click here to subscribe or to log in.

To Read the Full Article
SUBSCRIBE NOW

Tap into our Global Network

Of Industry Leaders and Designers

load comments
blog comments powered by Disqus