“We were thinking about the Met theme, actually,” Eva Cavalli said backstage before the Roberto Cavalli fall 2015 show, and why shouldn’t they? It’s Cavalli’s Ming Vase dress (most famously worn by Victoria Beckham in 2005) that adorns the Costume Institute’s invitation this year, after all. For the uninvited or unaware, the theme is “China: Through the Looking Glass,” an exploration of the Chinese interpretation of and influence on fashion, and for Cavalli, that looking glass led him rather directly to Maggie Cheung’s role in the Wong Kar-wai film In the Mood For Love; her windowpane-check cheongsam here interpreted as an intricately worked wool crepe column coat with the check picked out in white leather stitching, its floral patterned lapels hand lacquered in gold to mimic cloisonné enamel. That check appeared as black micro-paillette on evening dresses with white embroidery, too, and as white paillettes cutting a thin grid through black fur jackets or hand fringed white silk string coats that shimmied with every step. And while these were not, perhaps, Chinese-inspired in the strictest sense, they certainly delivered on what Cavalli’s customers (some of whom dotted the front row in full evening looks) have always kept coming back for: glitzy, glamorous party clothes.
And when it came to that, all of the house’s mainstays were here: cascades of beach fête–ready fringe, sequin jersey numbers that bared slices of flesh and moved like liquid silk, ocelot-print ponyskin, studs, flouncy frilled-front blouses, and long flowing maxi dresses done in a floral print or dip-dyed chiffon plissé. A pair of muted army green parkas (one cropped, the other long) were fur-trimmed and fur-lined and gleamed sumptuously, both entirely covetable for the party girl in a cold climate, if not particularly on theme. And of the theme well, oversize gold “pagoda” buttons (so called for their shape) accented a new silhouette for the house, a raised figure-elongating waist “It’s either very long or very, very short,” Cavalli said of the collection beforehand and those clamoring for red carpet–ready frocks, come May, would do well to aim for one of the final looks, in crimson “opium garden” floral embroidery interspersed with the subtlest of tiger stripes, easily either a reference to Eastern tiger-related lore or a subtle nod to the party animal within.
Discover the Roberto Cavalli Fall/Winter '15/16 runway show at the end of this post!
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: Roberto Cavalli
Photos: Yannis Vlamos / Indigitalimages
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Anna Molinari, who’s known as “The Queen of the Roses,” here in Milan a name given to her by Franco Moschino when she first hit the scene with her floral designs looked to another moniker for the collection’s additional muse, Baby Jane Holzer, one of the early superstars in Andy Warhol’s entourage of fellow artists, aspiring artists, and acolytes.
My Instagram @andreajankeofficial direct from the show