Roberto Cavalli is an Italian maverick when it comes to evoking sunshine and sailing-fare into his clothes. He designs for the rich and successful off Tuscany – very earthy, down-to-earth and immersed in culture for everything they do, from the wine they drink to the earrings they wear. This season was no different in all of this because Cavalli got inspired by holiday boat expeditions across the Mediterranean.
He owns his very own boat, aptly named with his initials “RC”, that is a sight to behold if you are fortunate enough to catch it when you do finally manage to make time to visit the infamous European tropical islands, Saint Tropez and Porto Cervo. These ports are glamorous because of the Italians’ amorous nature when it comes to money, fine jewellery and fine design so holding your own amongst it isn’t an easy task but like his clothes, Cavalli knows how to do things in the right form.
The first look of the show was a modern biker jacket in white, that flaunted pearl studs on the sleeves. Then came summer dresses, which means short attires decorated out in shimmering sequins – perfect for the sailing beach party, or a cool evening sundown romantic trip! The dresses were remarkably crafted with the aid of an “oxyhydrogen flame” as dictated by the notes doled out to all the exclusive addressee of the catwalk show.
There were original slipdresses too for lovers of simplistic ready-to-wear with the on-trend handkerchief as hemlines. They floated like a mermaid-in-control on surfing waves, so the inspiration was beautifully visible. Just off the mountainous coasts of the Italian seascape, you can actually picture beautiful women dressed in one of the Italian fashion numbers and camouflaging successfully as a tree, a shrub or blending right into the background of the forest.
It’s all possible if you chose the jungle prints off the catwalk, or the infamous Cavalli leopard spots, the printed bougainvillea taken from the designer’s messy of a garden. When you are feeling sexy enough, you can even go for the clothes off python, or the delicately laced tuxedo jackets. But if not there is cobalt blue for the T-shirts, leggings, for neo-classical prints, and even the distressed denim for those who love a strictly eye-catching masculine work-look – one particularly absorbing look was the blazer borrowed from the men’s line and tailored in organza, it can look effortless with meetings and as part-of afternoon tea discussions with friends or colleagues.
The guests were hot and cold with anticipation of the line, not knowing what to expect but desperately wanting to belong. Fresh as seashells, the ideal Cavalli woman is still the same – she is sexy but edgy and mature. The fabrics were luxurious so fashion lovers can certainly expect to belong, because there wasn’t too much of complicated age-old Italian fabric talks in any of it. Nothing like old-school rock-and-roll, fine bohemian tailoring or valiant head-pieces – this was a collection steeped in bringing back classic favourites and making them trendy once more!
The trophy jacket reappeared again, and it was in full-swing during the collection represented various times but well-fitting to luxurious sailing clothes. Just Cavalli is known for their seductive spin on fashion, but what the label is not known for is exotic fish-inspired fashion. But now you can identify with that thought too here because of the scales across a sweatshirt, a beautiful blouson jacket/shirt, or wispy and floaty kaftan dresses – for the demure, a dropline waist, for the sexy, an off-the-shoulder look, where the wispy-ness romantically trails around the arm.
The skirts were very “old-English tennis clubs” – flirty, flights of fashion in their sporty pleats, not looking out of place in the Italian coastline at all! Apart from that you could see vintage fashion in washed-out florals, more of the light as second-skin clothes, but all of this was very classy just how Europe loves fast-and-sexy fashion. So you can imagine women decked out on the coast in transparent clothes that wore intelligent prints around the breasts, and for skirts that were diaphanous, wearing oblique opaque panels midway from the waist to the hemline, just like a painting out of da Vinci’s collection.