Change is good, right? Alberta Ferretti embraced that old chestnut for spring, taming her ethereal signatures into minimalist silhouettes clearly inspired by the Nineties. Good for her for breaking out of her goddess gown, Greco-Roman comfort zone, even if the results were at times uncomfortable. “Everyone once in a while we have to evolve and initiate changes,” she said backstage. “But it’s obviously still Alberta Ferretti.”

Actually, the beginning of the show was not recognizably Alberta Ferretti at all. She opened with a range of chic black one-piece swimsuits and bikinis, the former, spare and simple but for some minimalist cutouts in the back, and a bikini top with its strings wrapped around the waist. Things got somewhat more familiar as they progressed into draped black Grecian dresses and jumpsuits, one with a leather buckle at the bust and cutout belly, and a chiffon apron with utilitarian leather straps. Exploring what a minimalist Ferretti would look like was a nice exercise, but when the swimsuits are the best part of the collection, there’s a problem.

The rest of it felt like change for change’s sake and bit non-committal. Simplifying evening silhouettes into tanks, slips and straight strapless minis in embroidery that looked liked paillettes and shiny silk lamé yielded perfectly innocuous dresses and gowns. But Ferretti is a flou gal. Aside from a few feathered styles and a pretty draped gown or two, the sporty glamour felt forced. Closing the show with lamé shirts tied at the navel and pants, plus a few of her day-of-the-week sweaters added in for commercial measure, made them feel a bit slap-dash.

By  on September 20, 2017
Alberta Ferretti RTW Spring 2018

Change is good, right? Alberta Ferretti embraced that old chestnut for spring, taming her ethereal signatures into minimalist silhouettes clearly inspired by the Nineties. Good for her for breaking out of her goddess gown, Greco-Roman comfort zone, even if the results were at times uncomfortable. “Everyone once in a while we have to evolve and initiate changes,” she said backstage. “But it’s obviously still Alberta Ferretti.”Actually, the beginning of the show was not recognizably Alberta Ferretti at all. She opened with a range of chic black one-piece swimsuits and bikinis, the former, spare and simple but for some minimalist cutouts in the back, and a bikini top with its strings wrapped around the waist. Things got somewhat more familiar as they progressed into draped black Grecian dresses and jumpsuits, one with a leather buckle at the bust and cutout belly, and a chiffon apron with utilitarian leather straps. Exploring what a minimalist Ferretti would look like was a nice exercise, but when the swimsuits are the best part of the collection, there’s a problem.The rest of it felt like change for change’s sake and bit non-committal. Simplifying evening silhouettes into tanks, slips and straight strapless minis in embroidery that looked liked paillettes and shiny silk lamé yielded perfectly innocuous dresses and gowns. But Ferretti is a flou gal. Aside from a few feathered styles and a pretty draped gown or two, the sporty glamour felt forced. Closing the show with lamé shirts tied at the navel and pants, plus a few of her day-of-the-week sweaters added in for commercial measure, made them feel a bit slap-dash.

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