For his sophomore show as a guest member of the Chambre Syndicale de la Haute Couture, Francesco Scognamiglio diffused the flavor and finery from his native Naples through gilded Parisian salons built for Roland Bonaparte, grandnephew of Napoléon. The handmade porcelain roses dotting the leather miniskirts that opened the lineup and staggered across the powder pink satin wedding gown that closed it could be traced back to the Capodimonte museum which houses the 18th century boudoir of Queen Maria Amalia of Saxony. If, as he noted, these breakable buds “represent a woman’s inner fragility,” the message from his 20 Spring looks was rock ’n’ royal. Baroque tracery on a slinky silver slip dress, oversize stud embellishments, and latex stockings were among the signs that Scognamiglio hasn’t tempered his extroverted taste to fit in among the established French houses. Even so, he can cut a sheer and shimmery gown that stands up against any other—not least because his secret is a barely there bodice that creates the striking sculpted necklines.
Backstage, Scognamiglio said he dedicated the show to the memory of Princess Diana, who would have been turning 56 this summer. According to the designer, they met one time around 1994 when he was working at Versace. One can almost imagine England’s rose in his tuxedo with its peaked shoulders, asymmetrical peplum, and seafoam beading. He also seems to have channeled her though new floral applications; both the oversize embroideries on the silver jacquard coat and the digitally printed flowers offer fresh updates to the couture repertoire. Showing in Paris has “put me on the world stage,” he said. Perhaps the flowers are a sign of his gratitude.
