Armani Privé

Images (C) Giorgio Armani

For the many years that Giorgio Armani has been designing he has taken care to create a wardrobe-wide series of options for women in both his Ready to Wear and Haute Couture collections. Practical, stylish and functional, this may be why he has endured in business so long.

The collection opens with a series of trousers suits carefully crafted to sit loosely over the figure whilst still looking perfectly tailored. Gentle metallic tones dominate the first part of the collection with a finely spun Silver weave jacket sitting high above the hips at the waist. With a light Black blouse just visible peeking from underneath, the four double-set of buttons on a simple jacket cross-over close make an interesting, very simple alternative to the single-breasted and double-breasted style. Loose cut long line trousers in a soft cut style with barely visible pleats at the waist have to be some of the easiest things to put on this season for those with long legs. The Armani code of slowly adapting and transitioning looks through the collection continues with a single breasted jacket worn open and unbuttoned. Hounds-tooth fabric cut in a circular style makes a beautiful contrast to a light weight Black waistcoat worn underneath. The pressed lines of trousers creases and ballet flats complete the look with a subtle contrast in anticipated gender norms of style.

The crafting of the textiles that make this look is so special. Centre a jacket and trouser combination are fashioned in Silver Wool thread that gives an iridescence with a jacket cut and style to be often worn open at the waist above soft trousers. A Black waistcoat and sheer blouse peep out from underneath and a matching clutch completes the look. A metallic Silver hint of snake skin appears next with jacket and trousers cut in the same fabric. A soft-fold over clutch and ballet slippers with a bow-tie accent the look. In a more daring moment the collection moves forward to a sheer blouse vest worn open with soft folds of Black silk gazaar under a silk Arabian looking jacket. Sheer trousers make the boldness of the piece unmistakable and the traces of sheer sequins at the trousers and Airmail tag stripes in cross check at the jacket show a desire to experiment. 


A beautiful bold halter neckline blouse is composed of two bands of Champagne fabric crossing down from the neckline to the waist over each bosom. It’s a beautifully simple idea that flatters the figure and leads to Black silk trousers cut in the broad ‘Arabesque’ style. Both the waist and the neckline are banded by Thick Black ribbons of silk creating a beautiful sense of monochrome and a jewel at the neckline forms a classical choker. In another strong characterful piece, the beautiful composition of an open Blouse cut to the neckline sits beneath a single breasted jacket cut to be worn open reaching half way through the lengths of the hips. Generously cut Black silk trousers reaching above the angle accent an outfit completed by an envelope clutch and ballet shoes cast in the same colour as the jacket.

The centre and far right looks in this frieze have a similar feel and look to them with a large Champagne coloured ribbon tie at the neckline here, repeated with a swirl faintly imitating the shape of a Rose to the right. The jackets also match each other with a soft Silver sheen, one featuring panels and another contrasting bias cut weaves set with the herringbone slant. Matching Black silk trousers are cut with more then later less fabric, as to the right where a set clings close to the legs of the wearer. It depends what line of silhouette you happen to be looking for but the options are there. Platinum Silk blouse cuffs appear from the sleeves of the jacket hinting at the full composition of the look. The pronounced weave is explored through the penultimate look in this series with a Grey crepe wool jacket gently folded as with an earlier look. A Black velvet band around the waist, cuffs and at the neckline there tied into a simple loop held by a pearl pin fasten provides a simple contrast of texture and look.          

As the collection progresses to have a more emphatic focus on eveningwear, the detail of the fabrics used in the evenings dress jackets becomes more of a focus. The subtle contrast of colours and texture creates a lively textile and almost folk-like aspect to the collection. Ribbons of Silver in contrasting fabrics stream across the surface of a jacket. Once again the soft-cut trousers appear with a wide-leg design that’s easy on the figure and relaxing through a long evening. Adjacent the last trouser suit appears with a sheer sequinned vest created as a feature beneath a jacket sitting open above the hips. Large circular floral patterns bloom across the surface of the garment and create a soft transition to the next series of eveningwear looks. 

Midnight Blue, one of my favourite looks enters the collection with a beautiful dress, cut to above the knee, channelling the lines of the 1920's and ready for a party. The sense of being 100 years from this decade that saw so much social transition and change of norms, more freedom of women in clothes to wear and the crushing necessity to allow them to enter the world of work en masse after the population loss of the First World War all helped to usher in an era of change. A flourish of silk gazaar at the neckline transformed into a light neck scarf that carried the embroidery detail that one would find perhaps in millinery also. A broad hem subtly revealing the flourishes of a beautifully embroidered under dress. Cut in velvet as is the matching soft shaped circular pouch clutch-purse, the large tassels of the purse offer another additional expression of volume to the look. A sleeveless dress cut in a straight tunic line through the length of the figure , fits like a glove of Midnight Blue around the model. A ruff neckline and long line of buttons through the length of the outfit to above the knee add twists of vintage style with a clutch purse cast on a circular frame handle completing the look. To the right, Black returns with the classic trousers of the opening passages of the collection matched to a sheer dentelle embroidered blouse beneath a waistcoat featuring an open split rising upwards. Essentially it appears like a twin of the piece at the opening of frieze 2 above.     

A transfiguration of the design sees the Black waistcoat over the sheer dentelle blouse  accessorised with fluffy feather-light faux fur and repeated in circular surrounds of the ankle of the Black trousers. A sweetheart neckline plunges in a narrow pause to the waist above full flowing skirt hiding handy pockets. Created in Midnight Blue velvet, this look has the charm an appeal of classic eveningwear with the twists of innovation and such as the strands of beads, 7 each side falling from the neckline, underneath a broad silk ribbon bow, through to the curve of the waist disappearing behind the figure. 

A Cobalt Blue appears like a flash with a striking combination of sheer long-sleeved blouse accented with floral dentelle across the surface and a floor length dress in graduated panels of silk fabric. A flourish of fabric at the neckline adds another dimension of volume and overall it’s an easy piece to carry off. To the right two similar looks express variations of the theme of a long sleeveless silk tunic dress, cut with ample fabric in both midnight Blue and Black. Both looks feature an over-sized blouse in sheer silk sewn with beautiful applique floral embroidery tied with a simple knot at the waist to close the piece across the figure and gently define the waist. Identical purses to match the fabric of the garment are worn in a small soft version of the modern briefcase cut in silk. 

A beautiful vibrant warm Coral makes its debut in the collection like a burst of sunrise colour flashing into the collection. A sheer blouse beneath a waistcoat is composed of identical fabric to its matching skirt. Shimmering crystals sewn across the fabric create a bounce of light as the model walks before the audience. Like all the looks in this passage, it’s a very light weight composition to wear in the summer time. A shimmering black silk sleeveless blouse is cut with small peplum details flowing over the hips with a central rise. Beneath a skirt cut generously in the A Line shape with a circular hemline is sewn with crystals and silk into floral emblems traced across the fabric. It’s a beautiful sensitive colour contrast that is striking but not overly so.

A jacket and trouser combination feature the same floral appliqué detail as in the previous look with layers of fabric placed over each other creating a layered textile effect. Channelling the creative arts, this piece appears to sit over a blouse cut in the same lines creating the effect of flowers petals folded around the figure. Moving further in the formal direction of evening wear the floor length dresses make an appearance in the collection. A beautiful fit and flare cut design features a sleeveless dress glittering with the shimmer of crystals from underneath a softly draped sheer gazaar wrap. Held at the left shoulder by a flower shaped clip, this is a beautiful look for formal events that could love through many seasons. One of the simplest yet striking looks of the collection, sees another full length ball gown crafted to create a rose at the left shoulder by folding fabric much in the way tiny flowers are created in ribbon to accent garments and millinery. This time the piece is broad and confident in expressing a bold note of style. A Black belt at the waistline tunes in to a chain drop purse featuring Black tassels of fabric reaching the floor. In a deeper shade of coral, this style would look beautiful in any of the shades used in the collection.    

Beautiful Blues light up the catwalk again with the colour making a return of the form of floor length dresses. A cascade of beautiful Cobolt and Azure Blue flowers swirl across the surface of a circular cut dress making the model/muse dance like a flower fairy in the garden. String straps at the shoulders above a V neckline plunge contrast the intricacy of the design further down. It’s light and uncomplicated and a piece to enjoy though like it’s neighbour and the third Midnight Blue dress across. All three employ the style motif of the sheer Midnight Blue gauzey veil of silk over the outer dress, looking something like a veil descended from the head and shoulders to fall across the garment. The second dress is designed strapless with a gently curved neckline. Flowers reach across the surface of the fabric in this look in Blues, Golden Yellow and Red. As with its predecessor the bodice and upper dress skirt are cut in one piece whilst the lower skirt reaching the floor is created from a second panel. It gives a sense of depth to the composition and allows for easy alteration and customisation. The third dress features Blue flowers and dash lines of crystals sewn across the fabric of the full length of the dress creating much more subtle sense of sparkle and mystery. A beautiful circular clutch purse hangs from the fingers completed with the same fabric.

To the far right the next colourway of the collection walks forward with a light Mint jacket, skirt and purse combination channelling a more minimalist style with strong overtones of geometry and linear features. A satin Silk shine runs either side of the jacket fasten to create a soft contrast within the flow of the garment. At the right hand a small purse references open weave of the crochet basket.       

The beautiful Light Iced Mint walks forward with a semi-sheer dress composed in the same colour. Nude thin shoulder straps give the appearance of a strapless dress above a soft low neckline and semi-sheer tiers of an outer dress over a crystal sewn figure hugging under dress. Through the outer shift layer the sparkle of the crystals is still visible with the effect of creating radiant light bouncing out from the core of the garment. As with the following look in the series a necklace of large glass beads is hung to clip onto the top line border of the bodice of the dress creating a look of geometrical elegance. The subsequent look indeed utilises a soft Lilac-Blue hue in the composition of the design with a V cut neckline descending through tired layers of sheer tulle fabric of a sheeth dress sat over a figure hugging semi-sheer under dress sewn with beautiful flowered crystals. It elegant and bold and would still probably hold up under the full glare of cameras as not too transparent.


A Champagne satin bodice sits beneath a sheer beautifully embroidered long sleeve upper dress bodice. Sewn with beautiful flowers, this dress shimmers in the light as the wearer moves through a room and a simple seam at the lower waist brings the vest and the skirt of the garment together whilst framing the look as one. The sheath dress mode proves popular as the final dress of this frieze features embroidered flowers across the surface with a warm feel espousing the life contained in floral garments. The bodice descends to a peplum fringe detail over the hips and a skirt dropping down in three tiers from the waist again echoes the folk traditions of central and Eastern Europe.  

The dual identity of the shift dress is explored again in a look featuring two sheer layers with subtly contrasting patterns. An under dress featuring Red vines weaving across the surface of the base dress whilst the outer lighter shift layer is comprised of soft White flowers resembling Carnations edged in Black. A whisper light tulle shawl reaches across the shoulders with a train-like effect falling through the lengths of the outfit. Chains of beaded sequins appear in the next look with a soft Mint waistcoat sitting above a full length skirt with vertical shimmer. It’s an interesting exploration and will catch the light well in front of the cameras for those with public commitments.  

The next two looks re-use the motif of a halter neckline composed of two bands dropping vertically on the bias angle over the bosoms. Twinkling in the light, they both contrast with a subtle satin silk across the bodice and around the neckline. In both Dusty Lilac and Aqua Blue, these two dresses both feature full skirts spreading wide from the waist to reach down in a gentle A shape to the shoes. The outermost layer of the dress skirts of these frothy tulle ‘Tinkerbelle’-esque looks are sewn with flowers. The first in complementary Lilac and the second exploring Blues and Pinks over the surface of the outfit. To the right a beautiful Aquamarine dress channels the waters off the coast of northern Italy, but for me there is also an echo of Cornwall. An ankle length dress is strewn with flowers and sequin clad stalks in embroidered delicacy. Again this look comprises the soft volume customary within the collection and a sheer feather light cape train over the surface of the garment adds a light touch of romance.  

A jumpsuit makes an appearance in the collection with motifs from the dresses used in a more comprehensive coverage across a garment that walks forward not taking itself too seriously. With a double layer of floral embroidery tracing over the surface, this look is accessorised with a Magenta bag crafted in basket style to give a further emphasis to a care-free approach to fashion. Centre above a strapless full length dress also features a bodice festooned with floral detail in every element looking like a flower bed growing across the surface of the gown. As the dress descends through to the lengths of abundant fabric folded closely into rolled waves, the flowers become slightly fewer allowing the fabric itself to shine through a little more. The lover foot and half of the dress heading towards the hem appears to be strewn with flower petals showing a transformation of the floral elements as the garment moves towards completion at the base.

To the right a very sultry look warms the style note up for the evening with a sheer floor length dress covering an opaque bodice thus retaining the models modesty. The inner bodice is adorned with crystals and the outer shift layer sewn with flowers lightly in just a suggestion of the summer garden. It would, like many of its peers here, be a wonderful and practical piece to wear through long summer nights.    

The collection closes with my look at two final dresses that each would make a beautiful show-stopping statement. Strewn across the bodice a shower of small flowers fall across the figure like confetti with a trail falling through the lengths of the skirt Something in the shape of the waist channels the renaissance for me with the petals themselves being used lower in the skirt lengths to enhance to decoration. Its full flowing and like several look could be chosen as a bridal option. To the right the finale piece occupying the traditional place of bridal design is set in bold and beautiful Lapis Blue, like the most beautiful waters of the Mediterranean sea stretching from France to Greece. The dramatic V drop returns again at the neckline plunging to the centre of the figure. Fringes fan outwards across the bosom bodice and the waist point is marked out by a double jewel motif. The fabric of the skirt is gathered in a millefueille of countless gathers around the models waist adding volume of generous glamour before showcasing ruffles of tulles gathers around the ankles. It has the volume of the classic dresses of the 19th century and formal Bridalwear of the 20th. All in all something very special.  

Iris van Herpen

Images (C) Iris van Herpen

She’s a designer who loves to create and explore the energy of surprising shapes. Her garments look as much architectural as clothing at some points and it’s obvious that her fascination with structure plays a large part in her creative process. 

The collection opens with a Blue dress sculpted to create the image of a woman emerging from the head of a flower. A tunic vest cut close to the body hides the inner stamen of the flower, represented perhaps by the wearer whilst soft folds of fabric curling outwards around the figure form natural petal shapes. The lower dress moulds closer to the models figure initiating the flower base. A beautiful colourwash of strong Royal Blue through to Cream-White descends through the body of the garment in a beautiful degredé colour sweep, imitating the natural change of colours in flowers to a slightly stronger degree.

From the natural Blues of the Flowers, Water and Sky to the resonance of man-made fire of Coppers and Bronzes two following dresses channel raw energy and abstraction. Centre above a dress created in wraps of fabric twists around the figure. Sleeves are forged, a skirt is draped through the length of the figure behind the wearer and soft volume enhances the feel of natural beauty. To the right a bodice cut close to the wearer emphasises natural curves with a peplum fringe hanging over the hips in a soft arc that lengthens to become the full skirt behind the wearer falling to a train behind. The love of architectural form is evident in the fine detail of a multitude of panels created across the surface resembling feathers of birds in their condensed, yet precise overlaying patterns.  

A complex geometric lattice design weaves across a figure in Silver-White to me is something of an emblem in celebrating life. Floral shapes are evoked and streams of fabric run through the length of the garment before springing to life, like streams themselves made fabric and falling away from the garment to create river-lets of small streams of water. Geometry and free flowing silk fabric floating ethereally are combined and seem like a good fit together. The centre look in this frieze is fascinating as it appears to reflect the shape and form of an alternate human skeleton wrapped on top of the models figure. Fiery Purple and Copper reach out across the figure in this mini-dress in precisely symmetrical curved lines. Flames reach around the wearer in the form of a wrap jacket to keep away the chill of the late summer nights or early mornings. To the right, a classic van Herpen look sees a mini dress composed with many free-standing leaf like shapes floating away from the body of the dress.  The power of 3D is something that van Herpen has often used during her career and this outfit would make a striking statement on the Red Carpet or at private events.  

The bright Azure Blue of the Sky or Mediterranean waters returns in a single shoulder dress cut beautifully on the bias and just a tiny bit ruched over the figure. With the bold colour comprising the body of the dress, soft plumes of fabric run from the shoulders, above to the right in a flourish and from below to the left in a soft drop through the lengths. The Blue fades through to almost White in degredé with a lot of fabric employed to create a generous train. The shoes are a feature subtle feature here created in a soft rising fan shape in Nude. A model strides forth looking like an alien other worldly Queen centre above in a Blush toned dress crowned with a striking headdress. The bodice of this dress is ‘boned’ in an external way with complex symmetrical shapes hinting at an alternative structure underneath. If you were to start to make a human from scratch, how would you do it? In this symphony of symmetry, perhaps van Herpen is prompting us to think this. The dress is composed to feature a cape within its own structure falling behind the wearer and finely pleated skirt lengths enhance the volume to create the impression of another-worldly Queen of potentially cinematic proportions.

The lustre of Bronze and Copper flames return in another garment utilising these colours but also with the structure themes of previous looks. A skeleton or geometric shape is created across the surface of the outfit. This sleeveless cocktail dress is formulated to open out to a small train dropping behind the wearer in a circular cut fan style. It’s another bold statement that celebrates strength in beauty.  

A series of stronger colours move into the collection with Black featuring in the first look above in a full length dress featuring a dramatic dip hemline descending from a peplum fringe that falls to a full length skirt flowing behind the wearer placed over a mini-dress. Faded out Gold patterning across the surface of the garment is printed in the style of the geometrical ‘skeletal’ alignment common to the themes of this collection. Without this it could look like quite a conventional look but van Herpen ensures that her stamp is firmly on the style. Centre above the fiery glow of Scarlett appears in a dress that cloaks the figure like a magician with a famous face wearing it for the catwalk debut. This look combines the angulated structure of design through the main body of the dress with the 3D flourishes of fabric feathers cloaking the arms in the jacket-segment of the look. The skirt is composed of a myriad of fine pleats reaching the floor.


Like all the pieces of this collection the natural curves and a broad hipped figure is celebrated not underplayed as has happened in fashion in some areas in recent decades. Van Herpen celebrates the strength and vitality of the woman and the term ‘Goddess’ is not misplaced. Twists and weaves of fabric in hot Copper weave around the figure once again with another dress exploring further an earlier design that would offer another striking option for the Red Carpet. To the right a facinating garment that features cresnet shaped partical discs grouped in trio sets, standing away from the dress. It creates a beautiful movement in the air around the wearer as she walks and the soft Lilac colour of these human-designed petals is quietly romantic. Beneath there is a sheath of Purple silk wrapping around the figure and exposed in a virant centre piece at the heart of the dress bodice. The colour sometimes associated with Byzantine and ancient Roman royalty (although then it may have had a stronger Blue tone) gives the wearer an extra shield of strength as she walks forward in the world.    


A beautiful dress is framed with petals spilling out across the surface of the garment in a replication of the petals of a flower. Softening the sharp sense of geometry carried within the garments, this 3D fluttering around the model draws the eye to the centre somewhat with a bodice and apron dress formed in this close sense of style. Centre above this formation is expanded to feature a bodice and dress skirt offset by long tendrils finished with feather like shapes of fabric. If you squint slightly it could look like an alien being walking towards you down the catwalk but as ever with van Herpen the 3D effect on the eyes is stunning. This is textile design with a particular approach. A beautiful full length dress in Nude-Ivory blends the floral and the human-made structural in a formation celebrating the soft curves of the figure. A firm central bodice sealed with a waist-band is the only area of strict conformity above lengths of flowing fabric swirling around the wearer. Fluted at the shoulder, the generous gathers of fabric give a soft, light swirling effect around the dress and the hemline features beautiful tessellated curves unique to the style of van Herpen.  

Opening out even further a Silver-White dress captures the essence of the van Herpen style with large free-moving tires of fabric standing away from the main body of the dress almost in a fan-like shape. At the bodice and the central front of the dress at the abdomen you can visualise the shape of a White Dove with the fabric tiers streaming away from it like unfurled wings. A dress hemline drops from above the knee to a flowing train behind the wearer in classic eveningwear style. Centre a Golden Primrose colour pop flowing through the farbic in a degredé wash to White, is accented with tessellated shapes sewn in applique through the bodice and length of the mini-skirt. An abundance of frothy tulle around the figure tracing a line through the back of the dress sets the mood for celebration. To the right a soft Beige creation crowned with a headpiece takes the place of the traditional Bridal garment. With amplified volume around the figure, this look pulls no punches in the arena of design but is still wearable for very confident clients on high profile occasions.      


Images (C) Schiaparelli

The legacy of Elsa lives on under the watchful eye of Daniel Roseberry and many of the faithful admirers of the Schiaparelli legend.

Conceptualised style is at the very heart of the House’s identity and it Daniel walks assuredly in Elsa’s footsteps at least as much as any other creative ‘heir’ to a Couture or design House charged with maintaining its past and exploring a bold new future. The collection shots open with a beautiful design featuring two of my signature colours in Black and Hot Pink. A Black dress moulded to the figure in PVC draws the figure in with strictness and a Hot Pink bow across the hips tied at the front is an abundant statement of prettiness. The large expressive size of the piece speaks to the boldness and confidence encapsulated in the essence of Schiaparelli. A giant Eye peers from an earring drop at the left ear reminding us to use our senses and instincts and feel as much as possible. Centre above conceptualisation reaches its peak with a Black silk dress carefully cut to the figure featuring an aperture at the bodice. The décolleté beneath is partly revealed in the bold style customary of Schiaparelli and uniquely she expresses the sense of listening by showing jewelled ear-like ornaments leading out from the centre and also clipped to the ears. Ever in the mood to play with practicality, to the right a Cream-White boiler suit is given the Haute Couture treatment with a hood expanded to create a cape-like structure harkening to the style of the 17th-19th centuries. Like his predecessor Roseberry is not afraid to play, in fact he positively indulges in it.       

A White bikini top is decorated with a bouquet of White ruffles creating the image of flowers dancing across the surface of the figure. These blossoming features make a beautiful statement around the figure with Black chord tie trousers adding a hint of athleisure to the look. Large Golden orbs and drops at the ear lobes create a modern baroque look. Centre a Hot Pink dress is sculpted to show well-toned muscle groups in raised relief on the figure and Black leggings rippled in abundant fabric actually join in one complete piece to the shoes of the wearer. Shoe points are cast in Gold and at the ears two giant pendulous locks dangle from the lobes. It perhaps signals to keep secret all that you hear and whilst discretion is a good thing in some cases silence can lead to more harm than good, but I perhaps read too much into this.  To the right a White raincoat features Golden padlocks on the surface of pockets running in two lines either side of the coat adorning three pockets on each side. In her hands the model carries a large Golden lock shaped handbag.      

A Black jacket adorned with warm Golden tones cast in the shape of flickering flames is worn above a Black skirt and leggings also joined to boots. Toes capped in Gold and giant hoops dangling in two tiers from the ears emphasise the inner strength of the women within as she walks in the world. The sweet wrapper bow tie around the waist of a Black Leather PVC look skirt hints at a youthful prettiness and playful nature. Worn with a Black round-necked sweater its long sleeves are accented with large button studs edged with Gold whilst outsized earrings descend through to the upper bodice above the neckline. It’s a look to go partying and dancing in through the night. To the right a Black slim-line dress is cut with a bold slash upwards through the skirt. The sleeves are cut into out-sized ruff shapes with fabric gathered in pin tucks through the length of the arms creating a wing-like shape as the sleeves fall to giant out-sized cuffs. Like a modern Angel prepared for battle at the party.     

A White dress with a deep V plunge neckline sculpted at the bodice is accessorised with stronger tones of jewellery and a clutch bag designed to add emphasis. Sun glasses featuring the Golden eyes of the sun surrounded by beads and accented with Golden clasp necklaces featuring several strands of beads in long drops. The same beads run across the surface of a outsized purse adding generous volume. Centre above a Hot Pink dress of astonishing volume is crafted to essentially hang from the earrings of the model, across her figure and down through the lengths. It’s a wonderful piece of imagination in the vein of Schiaparelli herself, exploring the love of play with design. The dress lengths fall around the model in a wide circular span with silks rippling like liquid. A Black sleeveless tunic dress comes complete with an inbuilt hood in the athleisure style. A Golden zip runs vertically down the lengths of the garment and in a surprise, the left breast is accented with a mould of Gold covering it and a Golden baby feeding from its mother. This is a powerful illustration of a baby feeding from its parent and the close bond between mother and child. The child being held in one arm also suggests the need to be agile and multi-task that all mothers and their supports, if they have them, are only too aware of.      

A shimmer of Gold runs across the figure in the first look above as a floor length dress composed of shimmering sequin sparkles. Huge golden spirals hang at the ears of the wearer in the shape resembling the eye adornments and symbols seen elsewhere in this collection and others. A beautiful Black jacket is cut with a steep drop through the front and adorned with brilliant baroque snaking detail through the open lengths where lapels would almost feature. It’s an astonishing composition with the models hair also lacquered with Gold to replicate the moulded guild work of the garment. In the ancient Egyptian style the toes are also covered in Gold defining the toes themselves and slightly relaxed cut Black legging trousers complete the look. To the right a Black mini-skirt surrounds the figure with a Lapis Blue cropped blouse fanned out to great proportions through the lengths of the arms. Descending behind the wearer it creates a diaphanous glamourous effect that is the height of glamour and Schiaparelli confident style expression.     

A Black floor length sleeveless dress hits an opulent high note in what I would describe as the ‘New Baroque’ look of the House of Schiaparelli today. The crescent curve across the bodice and a sheer double band exposing the slim-line waist, there is ample room for creativity within this classical composition. From the ear lobes two Golden snakes weave and descend through the figure to the neckline of the dress. A Scarlett cape that it’s possible to place hands through to wear comfortably enhances the volume and glamour factor  around the figure to Silver Screen goddess proportions. It’s red Caret or Gala ready. An all in one Black body suit utilises a soft bandeau neckline at the head of a solid block of Black through the length of the garment. The strength of the woman’s natural figure and form is emphasised through the simple design of this garment with fists clenched in a classic ‘Strong Man’ pose and the bold statement of the outfit being created by asymmetrical earrings cast in Gold with bold use of pearls. The finale Bridal look of the collection features a beautiful Cream-White dress with deep scalloped neckline between a softly ruched bodice cups. The angel-like wings seen earlier in the collection are brought back here to spectacular effect with a festoon of ruffles surrounding the wearer at a deep border of at least two feet in diameter. It forms a halo of sorts made real in fabric, an aura of beauty surrounds the wearer.