Ermanno Scervino’s show in the grand baroque cloister of a 15th century hospital, now a state university building, was a love letter to craft, and one of his best yet.
Scervino works with a couturier’s hand and his aim is always to translate those designs into versatile, everyday clothing “so that jackets can be worn all sorts of ways, and mothers, daughters and grandmothers can dress in variations on the same look.”
In past seasons his collections have sometimes skewed too sexy, or stagey, but this time his work was pitch perfect, with some dresses and skirts so delicate they looked as if they’d been stitched from clouds.
Transparent fabrics have been ruling the runways in Milan, and they were here, too, but Scervino decided against the usual fishnet, tulle and stocking knits. Instead, he opted for breezy cotton and organza.
He sent out white floaty gowns with plissé around the bodice; long bohemian skirts inset with strips of fine lace; shirtdresses with geometric embroidery; and minis covered in fluttery ruffles.
He turned his hand to flower making, too, adding a cascade of white organza flower blossoms to a sheer minidress and pink ones to a strapless gown. Pink bougainvillea petals adorned chunky, homespun-looking cotton cardigans, while clusters of flowers tumbled down the front and back of leather or suede car coats, jackets and even a summer weight parka.
The designer added pops of gold to his gentle pastel palette in the shape of jackets and strapless dresses with a basket-style weave, echoing the beachy bucket bags that some models carried.
This may have been one of his strongest outings, but Scervino wasn’t taking anything for granted. Ahead of the show he looked around, admired his lavish surroundings, and said: “Let’s see if I can live up to all of this.”
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