After a minor delay (signaled by the ever more brazen platform photographers) when one of the giant inflatable light fixtures did not illuminate with the others, a quick maintenance fix with a very tall ladder and a portable air pump got things back on track. The early confusion was soon forgotten once the collection starting rolling out, mesmerizing in it’s cyclical application of textures and textile. With such a lovely color story, it was easy to look past its dominance over the collection, which stayed focused around only a handful of fabrics. Because the textiles were so special, a metallic brocade in lavender and sea green, a floral print on velvet and on whispy organza, and a plastic coated cotton, the outfits were each unique and diverse in their composition. With the prints on a base of black and the long shirt tails trailing behind the models, it was almost like looking out the window of a moving car past a bed of flowers planted all along the road.
Corrado de Biase has a long history with shoe design, so it is no wonder his attention to the finishing touches translates to the garments on a larger scale, but no less precise. The organza shirts were joined together by the tiniest marrow stitch with added a kind of fine bone structure to the fluid garments. Black piping added a low contrast outline to the boxy, but rounded shapes of the outerwear. Big silver studs as buttons, sometimes down the back, emphasized the importance of modern materials within traditional reference points (like traditional Barbour jacket detailing evoked in the silhouettes and the quilting). It was over as soon as it began, just as the car passes through the landscape in the blink of an eye. But the images that Corrado de Biase left in our heads, along with the beautiful garments, will last much longer.
- Lee Anderson, Parisian Correspondent
Designer website: www.corradodebiase.fr
Photos courtesy of the designer