Serge Ruffieux delivered a solid evolution on his debut collection for the house, building on his collage of a young eccentric Parisian girl with bourgeois leanings: an old lady and young girl together.
Out she came, looking super cool in her high-necked shirt and brooch, pleated granny skirt, wispy mohair knits and Pocahontas shoes.
He delivered new spins on his dresses with sporty T-shirt sleeves, and cropped hybrid outerwear pieces.
Men’s tartan shirts had shrunken volumes, like a boiled wool sweater coming out of the washing machine. Experimenting with weird proportions and volumes, the raw and the refined, he played with ruching, hand-stitching details and layering, pairing cropped knits and checked men’s shirts fused with beaded crochet lace.
Velvet yokes on coats embroidered with irises — much like the prints on the sleeves of the ruched velvet and satin dresses — felt a bit off like old wallpaper, which was exactly the point.
As with any designer who likes to create and take risks, there were some misses, like the skirts made from two rounded panels buttoned together, which were unflattering. And things veered a little goofy at times. But the new Carven mademoiselle continues to take shape nicely with the feeling that, despite the
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