It might have been sheer coincidence that the most memorable image of Alberta Ferretti”s show today was the pattern that ran down the front of a shift dress and a tunic top. It looked like a crack in the sidewalk. Maybe that was her way of telegraphing the schizoid nature of her new collection. The first part of the show was a roundup of (relatively) practical daywear, the second featured ethereal, floaty, classic Ferretti dresses. The designer is convinced that women have passed beyond the ease of day-to-night dressing. They now want a definitive break point in their day between work and play. Hence, perhaps, the crack.
It wasn”t necessarily a formula for coherence, but it did move the Ferretti collection in a new direction. The idea of a clear division was explicit from the outset, with a shift split in two by a spiral motif underneath a coat whose hard-edged graphic was the antithesis of the sheer, nude chiffons that Ferretti paraded last season. Colors were strong: fuchsia, petrol, electric blue. The designer spoke about a new, shorter proportion, but the velvet thigh boots she used throughout the show—never mind the floor-sweeping caftans—meant that there was scarcely a moment where bare flesh was seen. Even though monochrome trouser suits were convincing, you could feel Ferretti wrestling with the challenge of diurnal propriety. She surrendered to her instincts with a patina of sequins and crystals. (Well, we did say the daywear was relatively practical.) Then she heaved herself with a sigh of relief into her signature diaphanousness, with elaborately embellished gowns that gave their wearers pale shelter. Thinking back to that first outfit, it was hard to imagine how a woman”s day could begin one way and end somewhere else so radically different, but as an act of faith in human adaptability, Ferretti”s show was oddly reassuring.Welcome to visit my Coach Outlet Online store: http://coachoutlet.kchbags.com