On Lorenzo Serafini’s mood board, images of the Grecian-inspired finely pleated dresses Madame Grès was famous for were plastered alongside Halston’s sensuous, flowy designs. It made for a noble genealogy for the spring collection. Albeit profoundly different, both designers were geniuses in their own right, and Serafini tapped into what he described as “their sense of forward-thinking modernity, the supple yet intricate construction of their design.”
Lightness and fluidity were also on the agenda. The first looks were a series of breezy tailored pieces—oversize suits layered under trench coats, voluminous blazers worn over shorts—made in featherlight wool voile in a gentle palette. They could fit seamlessly into any wardrobe as go-to everyday pieces. Yet Serafini has a romantic, feminine hand, and he infused softness and ease into masculine-inflected pieces, paring down frills and decorations in favor of a calmer look, hinting at the reductionist trend sweeping across fashion today.
His more sensuous side was indulged in finely draped pieces in flimsy stretch jersey or white stretch lace, shaped into form-fitting dresses with asymmetrical skirts and pleated bodices, with plays of cut-outs exposing the skin. “They’re not sexy, rather sensual,” he pointed out. While some of the drapings felt a tad overworked, the overall feel was fresh and flattering. “Blurring the lines between daywear and eveningwear, between sensuality and comfort is how women dress today,” he said. “You can’t take away from them the freedom to be who they want to be that they’ve fought so hard for.” Isn’t it every designer’s duty to support the (never ending) fight?
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This article was originally published on Vogue Runway.
