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You might expect Roberto Cavalli’s spring show to be a full-on cavalcade of animal print and sexy dresses with not much room for nuancing such alien fashion forces as the new covering up and big trousers. Yet, surprise: for perhaps two-thirds of the show, Cavalli showed his acquaintance with such potentially antisexy ideas as long tunics over trousers; the importance of having shirttails cover the rear; the new, stiffly wide-cut sleeve; and the mannish trouser.
As difficult as it may be for a hard-core maximalist to adapt to minimalist times, he set about it with a good grace, offering, at the beginning, serene (for him) layerings of embroidered white transparencies involving crystal, chiffon, and lace. What he showed underneath them was one in the eye for followers of the “clean Céline” school leather jeans slashed into horizontal strips or cut into an intricately flowery filigree of skin-revealing frayed lace. Say what you like, but those were bravura demonstrations of Cavalli house capabilities.
Moving on, past several beaded dresses, the collection dealt out fluid silk trousers and shirts in tendrilly, vaguely art nouveau prints. The most convincing house hybridization of mannish and hyperfeminine came when a lingerie-lace-trimmed silk camisole, vaguely anchored to the body with rouleau straps, was married with a loose pair of pants and some kind of chiffon panel that floated out at the back.
But what of the Cavalli house penchant for animal print? It was, naturally, impossible to repress, though more as an insinuation than a roar. The knowing way he used a single jacket and skirt suit matched with a bag in the same print was especially clever. That’s a spring trend that registers as in the “rather advanced” class.
As for evening? The Cavalli solution for the red carpet is unapologetic, unreconstructed sexiness all sheer beading and cutouts. Some of it might ring bells with anyone who’s seen Riccardo Tisci’s demi-naked beaded couture dresses recently, but there you go: When it gets down to thinking about how to display as much of a hot female body as possible, you can always trust an Italian.
"43 paintings ... my creations to celebrate feminine sensuality". - Roberto Cavalli
You might expect Roberto Cavalli’s spring show to be a full-on cavalcade of animal print and sexy dresses with not much room for nuancing such alien fashion forces as the new covering up and big trousers. Yet, surprise: for perhaps two-thirds of the show, Cavalli showed his acquaintance with such potentially antisexy ideas as long tunics over trousers; the importance of having shirttails cover the rear; the new, stiffly wide-cut sleeve; and the mannish trouser.
As difficult as it may be for a hard-core maximalist to adapt to minimalist times, he set about it with a good grace, offering, at the beginning, serene (for him) layerings of embroidered white transparencies involving crystal, chiffon, and lace. What he showed underneath them was one in the eye for followers of the “clean Céline” school leather jeans slashed into horizontal strips or cut into an intricately flowery filigree of skin-revealing frayed lace. Say what you like, but those were bravura demonstrations of Cavalli house capabilities.
'The Roberto Cavalli Spring/Summer 2013 collection is inspired by the poetic decorations of the Art Nouveau period. Nature and its elements become graphic symbols that Roberto Cavalli transforms into prints which frame the body. The prints are designed entirely by hand and are punctuated with lace details, furrowed by high slits, and enriched by leather cut-outs.
The animal print backgrounds are superimposed with stylized elements of plant life. Layers of mousseline create a fluid silhouette which slides on the body. Precious metallic and glass embroideries dissolve at the bottom of the dresses, and alternate with lace that is cut and reconstructed, or leather that is sewed, incised, and decorated with appliqués.
The dresses in silk knit, lie close to the body and are illuminated by crystal embroidery. Pants in lightest mousseline allow the leg to show through. The colors range from total white to total black, passing through blush, lime and apricot.
On the runway the new Cavalli twin-set is composed of the gown and the Hera bag in matching prints. Like the mythological goddess protector of femininity, the new Hera bag guards the secrets, desires and seduction of the person who wears it. Made of printed leather or black python, and created in two sizes.
The limited edition Hedera sunglasses are created with the most sophisticated gold craftsmanship. The refined and sinuous lines, the precious materials and the floral detailing uncover the exotic charisma of Art Nouveau style decorations.' - The House of Roberto Cavalli
Moving on, past several beaded dresses, the collection dealt out fluid silk trousers and shirts in tendrilly, vaguely art nouveau prints. The most convincing house hybridization of mannish and hyperfeminine came when a lingerie-lace-trimmed silk camisole, vaguely anchored to the body with rouleau straps, was married with a loose pair of pants and some kind of chiffon panel that floated out at the back.
But what of the Cavalli house penchant for animal print? It was, naturally, impossible to repress, though more as an insinuation than a roar. The knowing way he used a single jacket and skirt suit matched with a bag in the same print was especially clever. That’s a spring trend that registers as in the “rather advanced” class.
As for evening? The Cavalli solution for the red carpet is unapologetic, unreconstructed sexiness all sheer beading and cutouts. Some of it might ring bells with anyone who’s seen Riccardo Tisci’s demi-naked beaded couture dresses recently, but there you go: When it gets down to thinking about how to display as much of a hot female body as possible, you can always trust an Italian.
Selections by ANDREA JANKE Finest Accessories
Photo Credits/Source: © VOGUE
Runway: Photography by © Marcus Tondo/GoRunway
Details: Photography by © Gianni Pucci/GoRunway
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