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After four years at the design helm, Zanini wanted to address his vision of the Rochas woman “a hopeless romantic who is not just sugary and sweet, she’s also powerful and strong”, and to riff on some of the signature silhouettes he has developed for the house, from a bias slither of a lingerie-inspired slip dress, to a dance frock with an acreage of bouffant skirts.
Zanini described it as “a labor of love in an optimistic spirit” and there was certainly a giddily upbeat quality to the collection, with the emphasis on classically feminine silhouettes in a cloudy-dawn palette of silvery gray, rose-mauve, and chalk, breaking into currant, chocolate and garnet.
There was an elegant modernity to the mix of classics with a fifties flavor pencil skirts in stretch satin, sun shirts cropped to reveal the midriff, structured brassiere tops and girdles, and those full-skirted frocks paired with classic polo shirts, and clinging, short-sleeved turtleneck knits. Down-to-earth wrestling boots in gleaming white kid leather, and clean-lined, unembellished purses updated the nostalgia.
Zanini reworked those polo-shirt shapes as tunics or abbreviated little dresses in luxe fabrications including chalk white or a vivid magenta-pink silk faille. His “joy of opulence” also expressed itself in the immensity of fabricm including Bucol’s magnificent lustrous satin, warp-printed with a design of ruby-red chrysanthemums used for clothes that seem to invite the wearer to swish a sunray-pleated skirt, or drape a double-faced satin stole or a full evening coat, with the gesture of a worldly mannequin in a mid-century Irving Penn photograph. But Zanini’s clean lines and fresh spirit bring that platinum print effortlessly into the iPhoto age.
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After four years at the design helm, Zanini wanted to address his vision of the Rochas woman “a hopeless romantic who is not just sugary and sweet, she’s also powerful and strong”, and to riff on some of the signature silhouettes he has developed for the house, from a bias slither of a lingerie-inspired slip dress, to a dance frock with an acreage of bouffant skirts.
Zanini described it as “a labor of love in an optimistic spirit” and there was certainly a giddily upbeat quality to the collection, with the emphasis on classically feminine silhouettes in a cloudy-dawn palette of silvery gray, rose-mauve, and chalk, breaking into currant, chocolate and garnet.
There was an elegant modernity to the mix of classics with a fifties flavor pencil skirts in stretch satin, sun shirts cropped to reveal the midriff, structured brassiere tops and girdles, and those full-skirted frocks paired with classic polo shirts, and clinging, short-sleeved turtleneck knits. Down-to-earth wrestling boots in gleaming white kid leather, and clean-lined, unembellished purses updated the nostalgia.
Zanini reworked those polo-shirt shapes as tunics or abbreviated little dresses in luxe fabrications including chalk white or a vivid magenta-pink silk faille. His “joy of opulence” also expressed itself in the immensity of fabricm including Bucol’s magnificent lustrous satin, warp-printed with a design of ruby-red chrysanthemums used for clothes that seem to invite the wearer to swish a sunray-pleated skirt, or drape a double-faced satin stole or a full evening coat, with the gesture of a worldly mannequin in a mid-century Irving Penn photograph. But Zanini’s clean lines and fresh spirit bring that platinum print effortlessly into the iPhoto age.
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: VOGUE
Photography by © Marcus Tondo/GoRunway & © Filippo Fior/GoRunway
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Collection, Fashion Show and Review
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