Missoni’s spring collection was totally tubular, often sheer, and occasionally hobbling.
“Weightless, put-together layering” is how the Italian house described a show hinged on tube dresses in white or printed stretch tulle, worn alone or layered over each other.
It was an inventive way to tame those familiar zigzags and busy graphic prints, here done up in sorbet colors and often enlivened with clear sequins or crystal embroideries. Shirring further obscured the patterns.
The show had a futuristic gloss, staged in a blinding white room dotted with giant inflatable silver orbs by American artist Shawn Kolodny.
Everyone could see themselves and the audience in those globular mirrors, which seemed an apt commentary on our selfie society. A good number of guests were sporting looks from Missoni’s fall collection, which hinged on plush and tinseled textures.
Designer Filippo Grazioli keeps steering Missoni in a sexier, younger direction for attention seekers. While many looks were transparent, he also included some very short tank dresses in a thick white knit fabric etched with Missoni patterns. They were cute.
Delicate chiffon tops with ruffles spilling haphazardly off shoulders like sashes were also pretty, but too reminiscent of one of Nicolas Ghesquière’s seminal collections for Balenciaga, for spring 2001.
Grazioli rounded out this steamy offer with some mannish tailoring, again mostly in white, with subliminal renderings of Missoni patterns in tufted jacquards.
He ventured into other unexpected fabrics including broderie anglaise, known in Italy as sangallo. He calls these experiments “Missoni-isms.”