Roberto Cavalli RTW Fall 2016

February 24, 2016 - fall Denim

Taking his cues from early 20th-century bohemianism, as good as a mystic and Sixties rock, Peter Dundas incited out a collection for abounding witches.

Backstage before his second women’s runway uncover as artistic executive for Roberto Cavalli, Peter Dundas’ eyeliner seemed to foreshadow a tumble collection as most as a set — a candelabra-lit yard finish with a harpist, heading into a grand palazzo that was elaborately set with palm trees. Between a fantastic chandeliers and a inexhaustible trays of Champagne circulating, there was adequate clear in a room to make a hand-cleaning organisation cry. Understatement was not entrance down a pike.


Dundas took his cues from early 20th-century bohemianism. “I was meditative of Orientalism by a Thirties and illustrator Aubrey Beardsley,” pronounced Dundas. “It was about decadent women idols of that time, as good as mysticism and a occult.” His lady was a abounding witch, one who didn’t caring how most it cost and if it would make people stare.


A way of opulently-turned-out, glam-rock gypsies came in low purple velvet, patchwork intarsia mink, jewel-toned jacquard, tiger-printed fur, fringed silk and glossy lame. They wore long, spare neck scarves and snakeskin height boots. That a hedonistic, high-glam hippie is not a new demeanour by any means, was something that Dundas tacitly acknowledged. His uncover records were punctuated by references to aesthetes from times past — Led Zeppelin, Janis Joplin, Gustav Klimt, Theda Bara — and he remarkable that a collection was meant as a delay of his retro rocker tumble men’s line.


If not groundbreaking, a element offering Dundas a comfort level. He showed his imagination with it. The outerwear, mostly cut in devious lines, enclosed unconstrained boundless options — a garment with intemperate Art Nouveau embroidery; unconditional velvets — for a special arise topper, as good as during slightest one cool, practical style: a prolonged denim overcoat with an dismantled hem. There were extralong flared pants and bell-bottom jeans; a cropped patchwork snakeskin coupler and vintage-y T-shirts. Dundas kept old-school stone alive and with it, final year’s exposed dress phenomenon. There were several long, beaded tulle gowns that offering “full coverage” while divulgence roughly everything. May that trend rest in assent soon.

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