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Editorial

Emilie Flöge and Celia Birtwell, two artists, two muses; one for Gustav Klimt, the other for Ossie Clark and David Hockney. Chiuri and Piccioli drew inspiration from both and collaborated with the latter for some prints, such as the dragon towards the finale. These are two free, emancipated women; Flöge, a designer herself, liberated women from stiff corsets, hence the fluid A lines seen on the runway, both in mini and long dresses, while the gold intarsia embroidered onto surfaces had a touch of Klimt about it. The creative duo’s masterly craftsmanship dominated everything, the unbreakable bond with Italian couture that made these garments into pieces of (almost) high fashion: geometric black and white dresses that looked printed but were actually intarsia’d, Liberty-style lace tunics, dresses with leather triangles applied onto tulle, and then all the chiffon transparencies, floral prints and clusters of butterflies on subtly folk outfits.