There is nothing more sensual than an ode to purely feminine figure.
And even though these models were fully clothed, they were undeniably sexy.
Chiara Boni La Petite Robe knows the target market: a cult following of effortlessly chic, undeniably feminine and timelessly elegant women who love to travel. That is, picture them boarding the first class of airlines and being escorted into luxury hotels (not the bohemian adventure types – for those we saw other collections!). The success of the line was in its founding of the self-taught designer Chiara Boni, who visited Ateliers of Balenciaga and Givenchy in Paris where her mother used to shop and adorn herself. And that was when her view of dressing up the female figure was born, and translated to the ethereal lineup at New York Fashion Week (NYFW).
For this season, Chiara Boni found inspiration in the women of the Upper East Side of New York, who strolled from La Duree to Bergdorfs, from a lush tea spot to a velvet clad lounge, with a dollop of shopping and a bag of daisies in swing. With an undeniable 50s feel, the dresses hitting the runway were accompanied by voluminous, permed hair which transported all gapers into yesteryears, evoking enough sighs to overwhelm the background music.
Using an iconic jersey fabric, the dresses were in fitted silhouettes with curve hugging or flared skirts, often mid lengths. Enhanced with embroideries and appliques in uniform tones of Pantone’s official Rose Quartz (baby pink) and Serenity (baby blue), there was an undeniable romanticism in the air, accentuated with a few tulle skirts and tote bags filled with daisies!
As the models sashayed down the runway, my heartbeats waltzed to the tap of their heels and the entire vision of the 50s that came across so effortlessly. There were several details to swoon over: floral implications with sleeves that looked like petals or pleats, or puffed ones that matched the nightlife of temptresses puffing cigarettes from cigarette holders in lace gloves. The tulle skirts were also embellished with flowers, jersey or lace. One dress had a feather pattern, and a few prints were present too, but overshadowed by the power of clean, effortless and beautiful monotones.
There were a few pieces in black, which used more patchwork and cutwork fabric, lace and mesh to relay a more formal look. The styles still remained quintessentially feminine, with contrasting collars, cuffs and a few pieces fit for evening wear, too.
The finale included jumpsuits and charming bodysuits, alongside an intriguing collection of accessories in jersey, fishnet, jacquard fabric and embellished with bows, tulle and embroidery.
I think I left my heart on the runway. I should go find it in the Upper East Side of New York.