edged leather scarves are woven into nets; knapsacks transform into skirts, short – very short. 

The mimicry of a magical crocodile emerges in trompe-l’œil embroidery mixed with tulle, on bombers and jackets. Raffia blended with gauze becomes bark; wooden shoes, a scent of cinnamon. Bombers in anaconda and wood-printed nappa; crumpled shirts reminiscent of tree bark. Black leather and grey nylon – a humble, technological material that bursts forth like a tuft of feathers, as if belonging to a mysterious zebu. 

Exciting, tropical colours. A Carioca taste for stripes set in contrast. Alchemy in shirts with broad stripes of orange, mango and passion fruit – now transparent, now glossy – achieved through a technique that mixes organza and satin. Sarongs in pressed sequins, finished with sashes that blossom into green knots. The surprise of a finely pleated scarf that envelops the body like a leaf. 

A silhouette that weds colour to form, following the principle that every object naturally has its own colour: thus, the coat that resembles a caftan is white, the coat designed for practical coverage is beige, the velvet circle-skirt is blue. Elementary forms, therefore strong, which accessories underscore in a pure, essential manner. 

Materials and colours. Dry fabrics that give line and momentum: canneté, cotton poplin, gabardine, duchesse, grisaille, tweed – materials typical of the men’s wardrobe in tones of grey, iron and asphalt. In jacquard tweed, a lamé thread is woven in, producing an intermittent, low-frequency shimmer. Copper and gold appear more matte and dustier, with a sporty sensibility. A fantastical play of transparencies and shadows, of fabric suddenly dissolving into a network of tulle. Leather inserts reproducing anatomical parts, transformed into cartouches and immersed in a flow of gold. A mythological suggestion à la Ferdinand Khnopff, between Minerva and warrior. The powerful impression of a statue clad in metal and suspended upon mysterious marbled mirrors.