Spring’s romance needn’t be represented by saturated sunflowers or babydoll sweetness, nor should it be. Take for example one of the season’s emergent, and in turn steeliest and most attractive trends: diaphanous, floor-length skirts and dresses in cooled-off neutral colors.
Anna Molinari showed a surprisingly subdued collection at Blumarine (above, left), veering away from her expected Italian Riviera-friendly and Carlyne Cerf de Dudzeele-preferred outré beach fashions. Molinari’s stand-out skirt came opaque and banded, with double-slits at each ankle and a narrow, slimline cut throughout. Matched with a pocket-riddled windbreaker, the entire look evokes thoughts of, say, Amalfi in an April rain, yet the piece alone could just as easily be paired under a deep-cut tank or a lightweight knit the globe over.
Dries Van Noten’s collection was among the most critically acclaimed of the Spring/Summer 2013 runways, setting a new bar for the designer in terms of color and pattern exploration. Van Noten managed to manifest something never-before-seen out of a theme with which many are familiar – that of ’90s-era dishevelment (cue: the plaids, the grungy florals, and the boat-necked gray sweaters). One look in particular (above, center) acutely illustrated Van Noten’s stride via its full-bodied billow and its washed-out print, effectively balancing the nostalgic with the current.
Marco Zanini’s ’20s athleticism Parisienne at Rochas (above, right) had editors whispering, for despite its opulence, the designer’s output verged slightly on the unhinged and coyly on the idiosyncratic. Midriff bearing cutaways over chiffon? Unconventional. Leather sun-visors and ivory boxing shoes? Peculiar. But where there’s bizarreness there’s often beauty, especially so on an ashen pleated skirt, flaring out from beneath a fitted slate-hued tee.
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Images Courtesy of: (from left to right) Vittorio Zunino Celotto/Getty Images, PIERRE VERDY/AFP/GettyImages, PATRICK KOVARIK/AFP/Getty Images.