That the collection felt homespun was no accident, as Veronique Branquinho channeled country interiors of yore, like “18th-century fading, floral wallpapers” and traditional handicraft techniques such as needlepoint, tapestry and cross-stitch.
The dresses, with their generous volumes in soft cotton dyed an aged shade of cream, brought to mind antique bed linens, with the pockets of long shirtdresses traced with the black spoke-hem stitching found on old linen pillowcases. But their pretty, modest allure was also apparent in a reboot of the Seventies prairie trend, with bibs tricked with black cotton lace, tulle inserts and western bows and, at the back, swooping Watteau pleats that dropped from the shoulder line. (The top variations ending in plissés points were lovely.)
The wallpaper resurfaced in prints of branches and birds on delicate cutout dresses and devoré blouses as the designer steered the theme into the now via elongated peak-shouldered bomber jackets and cute sweatshirts sporting tapestry details. Trompe l’oeil booties — a pointy take on the Mary Jane, with leather sock inserts and a kitten heel — finished off the look.