What is this, Marques is going to Almeida Glam? All long, slinks, leopard-spots are seen in their collapse. In the pre-collection, it is definitely read in this way. This is a surprise from designers who are not known to use a lot of prints. Marta Marks said that on a zoom call from his studio in Portugal, he was explaining that he would feel like challenging themselves: “We wanted to form new, greater, perhaps in more elegant field.” “While we still have, us, us.”
Well, there are many things in this collection, which are to exit as Eveningwear dressed too-only long, thin, trilty animal print skirts, but also Pofa-Back Tafta fabrics that point to the 1950s Hout Coucher volume. “This is the event dressing,” allowed Paolo Almeeda, “but for us, it always has an element of grunge.”
For that, he was pointing to the distressed-delax contradiction contained in the chopped-thread texture of the Phil Coupe fabric that also moves through the collection. Phil Coupe is a knitting technique that is more often associated with expensive coucher; Here, Marks and Almida deployed their shamble texture that they say pajamas and add a witch mystery to a black halter dress, which is photographed with her train photographed.
Somehow, that is on an increase in many nooks and crane in these diastopian times with Goth-Y vibe. It goes as external clothing with corsets and bras, which are represented in materials here, which have actually been in ownership for a long time: denim, coincides with the recurrence of this season of their lover jeans.
