For resort, Antonio Marras traced a journey from Biarritz, France, to Shanghai, exploring the influence of French culture in Thirties China. In fact, two of the designer’s own Shanghainese papier-mâché vases served as starting point for the floral prints, sometimes combined with Gallic summer stripes, on silk dresses cinched at the waist with matching or contrastingly patterned belts. Other fluid dresses with mandarin collars referenced the traditional cheongsam; some were printed with an arty pattern — inspired by a vintage screen — in autumnal colors. In contrast, spring burst through a delicate, sorbet-toned print of peonies blossoms on a puffed-sleeve long dress with ruffled bodice.

 

Outerwear, too, exuded a sense of precious prettiness, from a camouflage-motif trenchcoat with plissé details to a jersey caban with bayadère stripes and floral appliqués.

 

 

 

 

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