“Freedom!” That idea of liberation translated into a collection of unforced, woman-friendly pieces that embraced the house codes at the same time that they reinforced Viard’s own pragmatic instincts for comfortable, insouciant, no-nonsense glamour. Viard took her inspiration from a turn-of-the-1980s photograph of Karl Lagerfeld and his sometime muse Anna Piaggi, both dressed in the height of Edwardian-revival finery.
Tom Ford was inspired by a 1967 Bob Richardson photo of Baron Alexis de Waldner and Donna Mitchell sharing a cigarette. Replacing last season’s rolled-sleeve tees were sweatshirts sliced at the shoulders, a little boxy and oversize, which were paired with sexy bias-cut embroidered skirts. For the final looks the disco ball started twirling to the Fugees’s version of “Killing Me Softly” as Ford sent out his high-glam dresses.
Fall didn’t stray from familiar Scervino territory. The Florentine designer played on his favorite masculine-feminine dynamic, offering his tried-and-true opposites-attract recipe. A masculine coat paired with a hyperfeminine dress is always a sure hit chez Scervino, hence there were strong propositions in the coat department. Shapes varied from ample, enveloping, and slightly oversized to straight-cut and masculine. The designer lavished pantsuits (worn with matching brassieres) and double-breasted coats in dry textured wool with golden crystals.