No mincing words here: Antonio Berardi’s Resort was outstanding. The exquisite execution, the elaborate cutting techniques, the variety of shapes and volumes, the profusion of superb details that went into every single outfit—it could be fully appreciated only at close inspection, yet it’s a collection that could’ve easily commanded a runway.
Berardi doesn’t have to prove his skills as a fine tailor; he could cut an intricate jacket blindfolded. Yet he seemed to set the bar higher than usual. The play between stiff, masculine tailoring and ultra-feminine shapes was handled with such confidence, it made even the most sculptural silhouettes look fluffy and light. Berardi is British-Italian, and his two sides are in constant dialogue. In his vision, there’s always a game going on between covering and revealing, sensuality and restraint, instinct and control.
“Shapes here are much less concerned with how they fit the body, but how they react with the body in movement,” he said. “Another idea was to use textiles that have certain connotations and play them in a totally different way.” Case in point was broderie anglaise, a fabric associated with an almost virginal purity. Here, Berardi had it molded into tailored, sexy pieces, as in hand-embroidered, corseted bustier dresses, cinched at the waist by quilted belts, their ballerina skirts stiff and asymmetrical or tiered with stark flounces. On the contrary, jacquards and Prince of Wales wools became flirty on short, shapely jackets with ruching undulating from collars or soft decorative pleats at the back. Berardi has a love for precious fabrics; cotton organdy, linen gazar, flattened brocade, and crépon had a pristine retro feel, highlighted by handmade embroideries and stitching. Long floaty dresses in ethereal hues of pink, cerulean, and ivory exuded a delicate yet powerful femininity.
