THE NIGHT
SPRING SUMMER 2025
A whisper.
Like the wind blowing through the leaves, the breath of the crèpe sablé.
Sensuality is courtly, delicate. From a silent movie diva of the beginning of the century, wrapped in evanescent textures, caressed by transparencies and soft, nude tones, which delicately open the back with the touch of georgette.
Tulle becomes an Esperanto, flexible, ductile, capable of transforming into a double lining to give structure to the wonderful flared dresses or cardigan dusters, with a canneté belt and doll stitch profiles.
Its ethereal yet deeply material essence is like a breath of powdery tones, which hover over blush pinks, sugar paper blues, warm browns inspired by the desert earth.
The alchemies are played on lightness: tulle plastron embroidered with tone-on-tone sequins, on crepe dresses the color of Gubbio walls.
Caftans in animalier georgette combine blue, brown, sand, marking the waist with silk satin straps and leaving the shoulder line open, with sleeves gathered on the forearm.
It's as if the soft light of a dream were turned on on every dress, a bit like when Marion Cotillard enters Chez Maxime in Midnight in Paris and everything is covered in an aura of magic: here the direction goes to the micro-sequins applied on tulle, in the long blazers where the gold sequins host small mirrors that are colored by different lights.
Always the sequins, tiny and powerful, play with bronze mixed with jade green on midi skirts, tailored spencers, small bullfighter jackets modulated on the flapper style.
The shapes are like water flowing over the body: they suggest, they juxtapose delicately, they mark life with grace and determination, without scratching.
The floating capes at the shoulder would have been very much appreciated by Anita Stewart, queen of cinema masterpieces from the beginning of the century: not only in the monochrome version, in antique pinks and dove greys, but also in the light blue, black and beige polka dots on the butter background of the flowing dresses, with long, wide skirts, belts at the waist and plays of ruffles, textile overlays, crossing bands that open and close volumes.
The shapes are like water flowing over the body: they suggest, they juxtapose delicately, they mark life with grace and determination, without scratching.
The floating capes at the shoulder would have been very much appreciated by Anita Stewart, queen of cinema masterpieces from the beginning of the century: not only in the monochrome version, in antique pinks and dove greys, but also in the light blue, black and beige polka dots on the butter background of the flowing dresses, with long, wide skirts, belts at the waist and plays of ruffles, textile overlays, crossing bands that open and close volumes.
In the poetry of light colours, the cyclamen lights up, like a wave of vigour.
On the structure of the moiré, on the fringed organzas that create straight-line dresses with fronds of vibrant fuchsia floating in transparency.
On the jacquard duchesse where cyclamen mixes with sap green, in bustiers paired with palazzo pants or in dresses with architectural armholes and wide bands at the waist.
The shirts have endless cuffs, with small silk-covered buttons.
The nude georgette capes are a masterpiece of fabric architecture, which is recomposed on the body, guided by the satin piping at the edges.
READY TO WEAR
SPRING SUMMER 2025
