The fall Ports 1961 collection was one of sharp clarity.
At his sophomore effort as design director of the brand, Francesco Bertolini seems to have found his footing, with fewer and more precise ideas.
Handsome tailoring made the best impression, with tweed pencil-skirted, belted suits and egg-shaped peacoats with a martingale. A black belted pantsuit had patch pockets edged in chiffon, a delicate counterpoint to the razor-sharp silhouette. Ditto for the coat with mother-of-pearl button running down the back.
He trained his tailor hand on chameleon-like pieces intended to offer the wearer different styling options. The flowing sharkskin topcoats seemingly layered on top of one another were in fact a single garment with two lapels; A-line shirts came with an over-bib that doubled as a cape, and rainproof parkas had a detachable cloak. All inspired by the Bauhaus idea of functionality over ornamentation, they were sleek, conceptual and desirable, although one was skeptical about their practicality.
Visibly excited and committed to the brand’s success, Bertolini said he wishes to inject desirability into his collections but would love to hit the red carpet, too. Here he subtly referenced flapper girls, with jewel-like crystal fringes cascading from under furry coats, shift dresses with georgette fringes swishing with every move and three-piece tuxedos, with a vest layered under a lapel-less blazer.
A mock neck number decked in tiny feathers made of chiffon would look stunning on Demi Moore at Sunday’s Oscars.
