AT Vionnet, the main feature were the opening asymmetric gowns which mixed either cotton or glistening satin with a side of pleated chiffon skirt and a karate-inspired belt wrapped around the models with creped hair. This wasn’t the only Japanese reference found in the collection as drawings of Japanese characters and cherry blossoms decorated an ivory suit and more gowns. And it also included references to silk kimonos worn with mini-dresses or jeans – an unusual sight at a Vionnet show.

Goga Ashkenazi, the creative director of the brand, employed a more relaxed approach this season where tracksuit trousers worn with shirts and T-shirts accessorised by a gold chain and trainers fit for everyday were shown alongside red-carpet-ready gowns. Marilyn Monroe’s famous white dress got a maxi update, reaching the floor.

The designer also played with transparency against solid materials. A quasi-transparent white checked material was embellished with black tulle pompoms and made into a hooded coat and a dress which slightly resembled origami, calling upon the Japanese inspiration once more. Colourful strings, which were seen throughout the collection on trouser suits and on entirely see-through ethereal dresses, were fashioned into an entire dress which would look great worn as a top, perhaps with a pair of one of those jeans.

The SS18 show was held at the Santa Maria delle Grazie, a church and Dominican convent in Milan which is also the home to one of the most famous paintings in the world, The Last Super by Leonardo da Vinci, which made the event all the more glorious.

Images courtesy of Karla Otto

Published 26/09/2017 at theglassmagazine.com