had a vision, a theme and sensitive presentation – and it took the brand a step forward in flat Grecian sandals.
The idea of showing pale Grecian-style dresses, wide cummerbunds at the waist, and having a shadow of the runway figure dance, stretch and walk differently that the real-life thing – by some digital wizardry – was smart, subtle and modern.
The story was, as ever – considering the history of Madeleine Vionnet – fine fabric draped across the body, perhaps in two different tones such as white and beige, black and white or with a dash of Grecian blue.
But there were many other elements added from Goga Ashkenazi and her design team, who all took a bow. There were brief dresses, shorts, narrow pants and short, pleated toga skirts.
And then, amongst all this grace, like the snaking belt that infiltrated a waistline, came the dreaded word: sex. Visible bras, cut-outs between the legs revealing stocking suspenders, and harnesses across the chest.
The elegant, balletic look of the collection just didn’t need this sexing up.