Reviewing a Dolce and Gabbana collection is probably one of the hardest task an appraiser might get given. Not because of the impressive number of looks (Almost 85 in this collection), but mainly because of the sheer talent of their creator, whom give the world garments of exquisite quality, filled with details, symbolisms and references. “We don’t want to promote a woman who looks predatory,” said Stefano Gabbana. They also wanted to distance themselves from the Berlusconi era’s bimbo-esque aesthetics. Dolce & Gabbana’s new silhouette flared from high on the waist to mid-calf, creating an A-shape which many would find hard to pull off, were they not the genius duo. The fact that heels were hardly involved in the creating process made the task even harder, as the silhouettes and proportions have to be rethought, recreated. This did not, however, temper with the quality of the show: the shoes were inspired, from classic black lace courts, to raffia Mary-Janes and the occasional sculpted wedge that incorporated wooden horses and carriages. The raffia bags and plastic wicker baskets were also a show all by themselves. The female body was respected and honored, but not flaunted, nor exploited. If the shapes were less sex-soaked, the colors were still sun-baked, with warm reds, oranges and yellows, with patterns representing Italian puppets and flower motifs of Sicilian pottery. This tribute to Sicilian craftsmanship went even further with hand-woven straw corsets purposely resembling bread baskets. Stripes were also very present, in different shades of blue, green, black and white, thin or large. Eighty-six models, in 86 different patterned scarves, closed the show, in improved versions of swimwear worn throughout the end of the 19th century and the beginning of the 20th.
