Giles Deacon’s muse this season was French noblewoman Marquise d’Antin, painted by the 18th Century court portraitist Jean-Marc Nattier. He used the full painting as a print on his long dresses, and took the luscious flower sash worn by d’Antin and transformed it into a trellis design on short cotton satin and silk dresses — some of them with shiny sleeves woven from gold Lurex and blue lamé. Deacon focused much of his attention on tailored daywear, what he refers to as “day-ccasion things,” noting that these shapes are among his best sellers. He also worked in a lightweight Aertex fabric for bodices on dresses and flourishes on the back of jackets.

Giles Deacon’s muse this season was French noblewoman Marquise d’Antin, painted by the 18th Century court portraitist Jean-Marc Nattier. He used the full painting as a print on his long dresses, and took the luscious flower sash worn by d’Antin and transformed it into a trellis design on short cotton satin and silk dresses — some of them with shiny sleeves woven from gold Lurex and blue lamé. Deacon focused much of his attention on tailored daywear, what he refers to as “day-ccasion things,” noting that these shapes are among his best sellers. He also worked in a lightweight Aertex fabric for bodices on dresses and flourishes on the back of jackets.

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