Soft architectures. To an almost immaterial lightness of fabric corresponds an extremely precise structure of the garment. 

Versatile structures. The jacket, held in place by a pin, becomes a tailcoat, a waistcoat, an unlined shirt with a mischievous godet at the back. 

Airy volumes. Organza and tulle fastened with ties construct hourglass dresses, sheer like lampshades, or swell into near-balloon skirts supported by light structures. 

Civilised natures. Deep, strong colours, from brown to dark green to black. Warm straw hues, so light they form basket-like structures enveloping the body. Precious pastels blending sand and stone: jade, rose quartz, pale aquamarine in lustrous silk-and-nylon brocades. Raw-edged ostrich revealing organza linings. Python lending fabrics a crisper texture. 

An allure often born from the elementary design of simple pieces: squares cut or pierced to create unusual volumes; raw-edged navy cloth; emphatic rectangular skirts forming asymmetrical tails at the side. A swift, lean clarity of line is underscored by the blue vicuña Chesterfield worn over tone-on-tone duchesse jeans; sumptuous dandy robes-de-chambre over mannish grey flannel trousers with the most Ferré of white shirts. Long leather skirts paired with a black nappa painter’s smock for a high-style evening; but also ribboned sable pullovers that heighten the importance of the moment – even when the consistency of time has dissolved and one no longer asks when or how a dress should be worn. The languor of morning-suit-style dresses, low-cut and decorated with fox fragments. Myriads of cascading taffeta ruches inflate the most improbable of crinolines, softly rumpled.