To exalt the body, new technologies were introduced: developing a double jersey in linen, viscose and wool; using leather for its natural elastic containment; employing double cotton jersey to create simple T-shirt dresses, softly cinched at the waist by a band in the same fabric. 

The process advanced through associations, without following a logical sequence, creating echoes and crossings: the leather T-shirt dress, sleeveless and with a bare back; the black jacket vaguely reminiscent of a judoka, tied at the waist with a blue belt; the Mao-style suit and the kimono-over-jacket in ivory-and-porcelain motifs, lined with dotted silk; the red dress reduced to its minimum, with two wide straps on the back; and the precious suit, like an antique lacquer box in red and blue, double-printed over a black satin bustier. 

And for evening, a parade of unique pieces with the rhythm and breath of Eastern fables: the red mannish jacket over the pleated skirt in Chinese screen prints; the Mao suit with gigantic, polychrome designs; the trompe-l’œil one-piece of men’s shirt and pleated chiffon skirt; the puzzle dress with a single sleeve, which fits in one hand. 

Contrasts, exaggerations and a vivid sense of material: cashmere in cashmere tones; the mordoré and gold shades of long-haired alpaca mohair and of glove nappa. Natural nuances, yet perfectly urban. A festive (and sumptuous) palette of corals and reds, with the brilliance of noble fabrics: mohair, iridescent raw silk, organza. Monochrome interpreted: each material with its own shade. 

Transpositions and interpretations: the cardigan becomes a mohair coat; the jumpsuit transforms into a straight black dress with hidden zip and high collar; the shirt expands until it assumes the size of a coat; pullovers’ collars lengthen – or widen – immeasurably; the hyperrealist prints decorating T-shirts and blouses reach gigantic dimensions, justifying cuts and recuts. Moiré, faille, precious lamé (made with “falling” or spiral threads, a 1920s technique).