Milan’s runways were full of supermodels of previous eras. Carla Bruni, Shalom Harlow, Karen Elson, the list goes on. Antonio Berardi did something different. In place of a show or presentation, the designer invited his friends in the industry to pose for pictures in Spring looks of their choosing. My Vogue Runway colleagues Sarah Mower (look 8) and Tiziana Cardini (11) selected a printed blazer and trousers, and a flowing robe de chambre and slip dress, respectively. Representing the opposite polls of the collection, the two looks showcase Berardi’s always impressive sartorial skills and his knack for flou; he’s that rare designer who can convincingly do both. He’s also got a wicked eye for color. Photographer Rosi di Stefano shot Anna Dello Russo, Lisa Armstrong, Net-a-Porter’s Alison Loehnis, and Berardi’s longtime stylist Sophia Neophitou-Apostolou, among others, for the project. Not a millennial in the bunch, and with reason. Berardi’s sensibility is sophisticated. He likes a “worked” silhouette, which means his clothes lean strongly toward the glamorous and dressed-up.
The unique thing about this collection was its lighter, more relaxed aspect. That was intentional, Berardi said. Pre-seasons are his bigger collections; here he wanted something more intimate. So, rather than use actual lace, he printed it and blew it up, and embroidered parts of an easy tunic with flat mother-of-pearl beads. Poplin button-downs with adjustable sleeves were cut in the shape of Ts—easy. That said, Berardi’s ingenuity didn’t fail to impress. One special dress cut on a circle required an astounding 50 meters of fabric, yet remained surprisingly light. And be sure to look closely at dello Russo’s toile de jouy number. Its deceptively classic motif features all kinds of kink.
There are a couple of working models in this lookbook, but it’s something altogether different to get women who live their lives on the other side of the camera, who maybe (probably) don’t like to be photographed, to agree to pose for you. That so many agreed is a testament not just to Berardi’s charm, but also to his talent.
