Rodolfo Paglialunga found inspiration in the Thirties for his collection of reedy evening gowns for Vionnet, some of which brought to mind Wallis Simpson. But his was not a literal take on the period: He injected modern elements like lemon and lime color-blocking on dresses with large zippers opening in back, or fluorescent piping trim on the neckline of a silver-sequined navy cocktail dress. A bucolic spirit threaded through the show, from bold spring blooms to the glittery embroidered bees and butterflies that were scattered on some gowns. There was also a hint of Americana in the studded stars punched onto a fuchsia cotton shirtdress, or another in acid green satin whose yoke construction echoed that of a cowboy shirt. Cotton shorts, ruched like couture frocks, brought a relaxed and elegant vibe to a collection that was easier, though — with the exception of silver foil embroideries on retro tulle or silk floor-length gowns — not as richly textured, than Paglialunga’s previous efforts.

Rodolfo Paglialunga found inspiration in the Thirties for his collection of reedy evening gowns for Vionnet, some of which brought to mind Wallis Simpson. But his was not a literal take on the period: He injected modern elements like lemon and lime color-blocking on dresses with large zippers opening in back, or fluorescent piping trim on the neckline of a silver-sequined navy cocktail dress. A bucolic spirit threaded through the show, from bold spring blooms to the glittery embroidered bees and butterflies that were scattered on some gowns. There was also a hint of Americana in the studded stars punched onto a fuchsia cotton shirtdress, or another in acid green satin whose yoke construction echoed that of a cowboy shirt. Cotton shorts, ruched like couture frocks, brought a relaxed and elegant vibe to a collection that was easier, though — with the exception of silver foil embroideries on retro tulle or silk floor-length gowns — not as richly textured, than Paglialunga’s previous efforts.

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