There was a soft tribal sensibility to the substantial pilings. Sheer silk pants were worn under wrap skirts and densely woven sweaters that swaddled the body in one example of the lineup’s abundant knitwear. Crocheted cardigans were done in wide-weave webs and skirts cascading with thick marled fringe. Gentle putty hues such as light gray, tawny brown and ivory gave the look a homespun yet sophisticated quality that resonated in ethereal patchwork silk and lace dresses. There, the Mulleavys worked their tattered motif, winding mismatched floral silks in pinks and tea-stained tones, through swaths of lace, with more knit fringe and little strands of pearls as trim. Often, the fabric looked roughly cut from the bolt and draped at random to compose a single, mesmerizing piece, each a marvel of construction. Just as extraordinary as the level of craftsmanship was the fact that for all the lavish details, each garment was inherently wearable, down to the Nicholas Kirkwood for Rodarte shoes, designed with heels that glowed in the dark to resemble dripping candle wax.
© by WWD / Photos by John Aquino
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