A few looks into the Alberta Ferretti show, held in the Cortile della Rocchetta in Milan’s historic Castello Sforzesco, the wind kicked up and Ferretti’s wispy chiffon dresses started to dance. The rain that threatened to come down waited for later—Diesel’s Glenn Martens, who also held his show outside, wasn’t so lucky—but this was one instance where nature added just the right amount of drama.
Ferretti made her name with goddess dresses more delicate than dramatic. Look 32’s white chiffon, with an asymmetric bodice ruched on one side and softly draped on the other, is exemplary, and given that its antecedents date to ancient Rome, it really is timeless. Others she gave a more contemporary spin with hardware ring details, as seen on a red number, or side cutouts trimmed with chunky metal chain, as on a blush pink style.
Since before the pandemic, Ferretti has been focused on expanding her range, because women can’t live in chiffon alone. The lightness that’s a hallmark of her evening styles hasn’t always translated to her daywear, but the chemisier dress spilling off one shoulder that opened the show and the long white dresses with hand-tucked pleats that followed it had the ease of resort clothes. She kept the vibe going with striped cotton pajama separates and a shirtdress cut as generous as a caftan. You could see women wearing these pieces on holiday.
Then there was a series of tailored looks, narrowly cut, oversized, or with utility pockets—a real mixed bag of silhouettes—plus some miniskirt looks. For evening there was just as much variation, including a group of mesh dresses pieced together to follow the body’s curves and another series made from silk ribbons tightly woven together, the best of the bunch being a halter style that looked like poured bronze. The collection went off in too many directions, but at the center of it all was that perfect white goddess dress.
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This article was originally published on Vogue Runway.
